The World Is Not Enough


MCA Records (008811216122)
MCA Records Japan (4988067043030)
MCA Records European Union (0008811210120)
Movie | Released: 1999 | Film release: 1999 | Format: CD, Download
 

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# Track Artist/Composer Duration
1.The World is Not EnoughGarbage3:55
2.Show Me the Money1:28
3.Come in 007, Your Time is Up5:19
4.Access Denied1:33
5.M's Confession1:32
6.Welcome to Baku1:41
7.Casino2:55
8.Ice Bandits3:52
9.Elektra's Theme: The Bedroom2:06
10.Body Double3:00
11.Going Down - The Bunker6:27
12.Pipeline4:15
13.Remember Pleasure2:45
14.Caviar Factory6:01
15.Torture Queen2:22
16.I Never Miss3:32
17.Submarine10:19
18.Christmas in Turkey0:27
19.Only Myself to BlameScott Walker3:37
 67:06
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The World Is Not Enough - 06/10 - Review of Tom Daish, submitted at (English)
David Arnold's score for Tomorrow Never Dies is probably the only Bond score not written by John Barry that received any kind of critical acclaim. He seemed to update Barry's sound with modern rock and pop extras and making sound like a real 90's score. In fact, I think Arnold is one of the only Hollywood composers who uses synths that are actually drawn from pop music. Yes, Jerry Goldsmith, Hans Zimmer and chums all use synths, but they don't relate much to those used in pop music and I think becuase Arnold manages to so effectively cross this line that his Bond scores that use this technique sound so much more up to date. On the other hand, it might well mean that they sound out of date more quickly. Then again, Barry's Bond music always sounds like it's from the 60's, which is no bad thing, but these things always 'date' as such at some point. They evoke a period and that's it. It's just how well they date. I suspect that Arnold's music will date much more badly than Barry's, but probably not as badly as something like Bill Conti's disco effort. The one reason that Arnold's will survive longer is his good use of orchestra against the backing synth programming. Well, it was good in Tomorrow Never Dies, but this score takes the most extreme type (ie. Backseat Driver) and uses it for virtually every action cue. Only a few seconds into the opening cue (which joins imperceptably onto the second, Come in 007, Your Time is Up) we are hit with pulsing synths, small samples over the top of that and the hint of orchestra in the background. Once you've head that, pretty much most of the other action cues sound the same. OK, there are speed and subtle differences, but the swamping effect of the techno/dance/pop/whatever backing does mean that things tend to sound the same more often than they should.

It has to be said that with a little imagination, a couple of the later cues come out a great deal better, most notably Pipeline which uses a weird hybrid of Herrmann or Philip Glass style repeating phrases that alter slightly each time and get more and more intense as the track progresses. This is, of course backed by a harsh bassline, but it's not quite so intrusive this time around and the orchestral use is actually most impressive. Cavier Factory and I Never Miss similarly make more use of the orchestra, the former finally getting around to a decent outing for the Bond theme beyond the opening pair of tracks. The final, lengthy action cue, Submarine also uses more and more of the orchestra, with the dance music just providing an underpinning rather than being the main feature. I can't help thinking that Arnold is thriving on pure adrenaline rush to produce the desired effect, this is no substitute for interweaving his new techno textures with the orchestra. The crazy thing is that when he does so, the effect is fantastic and works so much better than anyone could have predicted.

For whatever reason, the score gets better and better as it progresses. The opening techno tracks are almost like a precursor of doom and most people will be praying that the rest isn't like that. The first few quiet cues aren't particularly special, slightly themeless and with annoying samples laid over the top, it doesn't bode well. There are a few high spots, most notably the very Barry-esque Casino cue which could quite easily have been from one of the Connery films. However, beginning with Pipeline, a strange transformation occurs. The orchestra starts to make more of a splash

I have this strange notion that if you combined the first few tracks of Tomorrow Never Dies with the second half of this score along with the end title song from the former, Surrender, you'd have the perfect 90's Bond score. However, seperately, they go slightly astray for various reasons. The first half is just action based purely on overdose and non action that is just plain boring. The song, actually written by Arnold this time and performed by Garbage isn't a great deal different to Sheryl Crowe's much maligned Tomorrow Never Dies effort. In this case, I actually think that Arnold went too much the way of eliminating the Barry-isms; Surrender may have been a pastiche, but it was a superb pastiche. The end title song sung by Scott Walker was ditched by the producers in favour of a funky update of the Bond theme. That speaks volumes really. Imagine a naff lounge jazz version of From Russia with Love sung by Tony Bennette.

I'm going to be harsh, becuase even though the second half is a great 4 star action score, the first half is hit and miss to say the least. I suppose this is a case of too much music, or possibly the wrong music on the album. Then again, it's not supposed to appeal to me particularly. My sister who likes going clubbing would love it, I'm sure and if I ever had to suggest a score you could go clubbing to, this would be it.
The World Is Not Enough - 08/10 - Review of Mitchell Tijsen, submitted at (Dutch)
James Bond films moeten altijd ondersteunt worden door prachtige muziek, maar ook vlotte en sfeervolle actiemuziek. John Barry ondersteunde de Bond films met zijn mooie muziek maar na zijn vertrek in de jaren 80 (The living Daylights was zijn laatste Bond score) volgde een andere componist hem op. Na een verschrikkelijke GoldenEye was het David Arnold dat zich ging richten op Bond. En hij stuurde het bond thema een andere richting op. Het was altijd klassiek, mooi en sfeervol maar wat Arnold ervan maakte was eigenlijk nog beter. Natuurlijk hadden Arnold zijn thema’s niet in de oude films gekund maar in de nieuwe films past zijn muziek o zo goed!

Deze score is ook geweldig. Lekkere thema’s om naar te luisteren met soms een goeie beat ertussen. Arnold bewijst zichzelf pas echt bij de End Credits van de film, en dat is doodzonde omdat die er namelijk niet op staan. Eén van de ergste dingen in de filmmuziek wereld vind ik dat ze niet alles op de cd zetten. Maar gelukkig heb ik de film thuis en staan de end credits ook op sites zoals youtube. Arnold heeft van het thema een leuke beat gemaakt met zoveel eigen zeggenschap erin. We horen op de end Credits namelijk niet alleen het bond thema, maar nog veel meer. Dit is pas het begin van Arnold zijn bond carrière, zo maakte hij hierna nog scores zoals: Die Another Day, Casino Royale en in 2008 kwam hij met The Quantum of Solace. Helaas was die film bagger maar de muziek was wel aardig. Naar mijn mening blijven Casino Royale en The World is not Enough zijn beste scores, met dus dat geweldige nieuwe verfrissende bondthema wat we soms ook in de film te horen kregen.

Het cijfer is niet zo moeilijk om te geven.
Een verdiende 8 is hier wel op zijn plaats. En als die End Credits er nou ook opstonden waar ik dus zo laaiend enthousiast over ben, dan had hier toch echt een 9 gestaan. Helaas is dit niet het geval en moeten we het doen met deze score…maar die is wel leuk om naar te luisteren. Barry zijn stijl was goed voor de jaren 60,70 en 80 maar ik werd zijn stijl soms ook wel zat. Zijn stijl zou weer niet gepast zijn in de films van tegenwoordig. Arnold zijn stijl is daar geknipt voor en ik ben benieuwd wat Arnold ons nog meer gaat brengen in de toekomst. Hopelijk componeert hij weer de volgende bondfilm, nu is het eventjes afwachten wat hij met de nieuwste Narnia film gaat doen!

The World Is Not Enough - 06/10 - Review of Andreas Lindahl, submitted at (English)
James Bond returns once more to the screen in The World is not Enough, and as with Tomorrow Never Dies his, and the other characters', antics are accompanied by an exciting score by David Arnold, blending the traditional orchestra, with a great deal of synths and electronics, to create music suitable for the Bond of the 90s.

The music is often very fast paced, with an equally fast paced percussive rythm in the background, and sometimes also in the foreground, drowning the orchestra. This is the scores only really big drawback - it gets quite tiresome to hear those modern dance rythms all the time. That, and the lack of a good theme, do not add anything especially interesting or memorable to the music, but rather make the listening experience somewhat distracting. But mostly, the music is very rousing and exciting, making it quite entertaining listening to. Arnold's use of Monty Norman's original Bond theme is sparse. It crops up briefly in a couple of cues, like "Show Me the Money" and "Caviar Factory".

There's some loungy, "late night" jazz in "Casino", which, with it's muted trumpet, flute, piano and other instruments, includes some portions from Arnold's score for Tomorrow Never Dies. It serves as a perfect contrast to the otherwise vigorous, and "busy" action music, which dominates the soundtrack. "Elektra's Theme" is also a nice, slow cue, which gives the listener a chance to breath, and prepare for the next explosion of orchestra and synths.

The song then. This is probably the most important musical factor for non film music aficionados, when it comes to James Bond. Mention "James Bond" and "music" in the same sentence, and most people will probably associate with the classic songs, and not the actual scores. The title song for The World is Not Enough is performed by Garbage. Composed by David Arnold, it is quite similiar to the song for The World is Not Enough. That is probably the easiest way to describe it. Nothing too memorable - "The World is Not Enough" is far better, in my opinion. But this, more than anything, is more a matter of taste, I guess.

Tucked to the end of the CD is yet another Arnold song. "Only Myself to Blame" is a slow, jazzy song, performed by Scott Walker. I don't know what to say except that Walker's voice is wrong, wrong, wrong for this song. Rather embarrasing, actually.
The World Is Not Enough - 08/10 - Review of Arvid Fossen, submitted at (Dutch)
The World is not Enough wil, zeer begrijpelijk, nog overweldigender klinken dan elke andere James Bond score. David Arnold sleurde heel wat elektronische beats bij zijn orkest wat zijn muziek meer 'nineties' maakt, maar toch leek hij dit niet nodig of minder te hebben voor Tomorrow Never Dies van welke hij heel wat melodie elementen herbruikt. Deze nieuwe score komt echter coherenter over, en het klassieke bondthema is knap verwerkt in de muziek. De thema's van David Arnold zelf zijn echt goed, en blijven goed in de sfeer van de typische bond sound. Al bij al dus een zeer goede score, maar beste James Bond soundtrack blijft toch het verbluffende The Living Daylights van John Barry.
The World Is Not Enough - 07/10 - Review of Martijn Kramp, submitted at (Dutch)
Ik vind de score voor The World is not Enough goed, goed gecomponeerde stukken en totaal andere stijl als David Arnold zijn vorige score. De score over het algemeen vind ik wel minder dan Tomorrow Never Dies en dat komt denk ik doordat de score voor TWINE meer een elektrische score is dan een orkestrale score. Ik vind de nieuwe invalshoek, om er meer drama in te verwerken orgineel en slim. Nooit eerder gedaan alleen ik heb het idee dat David deze stukken op het laatst snel heeft geschreven want ik ben veel beter van hem gewend. Maar kortom een goede en netjes onderhouden score.
The World Is Not Enough - 09/10 - Review of Peter Van Riet, submitted at (Dutch)
Het was duidelijk dat David Arnold een nieuwere stijl wou aanbrengen, wat hij subtiel gedaan heeft door overal wat meer synthesizers te gebruiken. Ik vond dat hij daar goed in geslaagd is om dit te doen, ik vind deze eigenlijk iets origineler dan de vorige, meer thematisch materiaal, meer thematische motiefjes, die een dramatischer gevoel willen uitdrukken..
The World Is Not Enough - 08/10 - Review of Dieter schallier, submitted at (Dutch)
het is inderdaad zoals peter van riet zegt; "veel origineler". Er is een groot verschil met Independence day.
This soundtrack trailer contains music of:

James Bond Theme, Moby (Trailer)
Tomorrow Never Dies (2000), David Arnold (Movie)
Original Trailer Music, ParodiFair (Trailer)


Trailer:





Other releases of The World Is Not Enough (1999):

World Is Not Enough, The (1999)
World Is Not Enough, The (2018)

Soundtracks from the collection: James Bond

18 James Bond Film Themes (1995)
James Bond Greatest Hits (1981)
007 James Bond Themes (2013)
Music to Read James Bond By (1968)
Dr. No (2003)
From Russia with Love (1963)
Best of Bond, The (1969)
You Only Live Twice (2003)
James Bond 007 (1988)
GoldenEye (1995)


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