|Triptic booklet for the MCA Radioactive The World Is Not Enough CD soundtrack release|
Tracks two and three of the soundtrack are actually one, but for a reason split in two. Show Me The Money is, in the film, when Bond learns the briefcase he handed Sir Robert King is carrying a concealed explosive. Come In 007, Your Time Is Up contains the boat chase in the Thames River, with Bond on pursuit of the Cigar Girl. I personally think they shouldn't have divided it, let alone separating it during the James Bond Theme build-up (Bond stealing the Q Boat). I'd say that the Show Me The Money part is nothing out of this world, while Come In 007, Your Time Is Up kicks in with eleven powerful notes that derivate from the main title song or the Bond theme. All in all, there is better action tracks in other David Arnold or John Barry 007 soundtracks, but I don't want to remove merit for this one that fantastic during the boat chase.
After the bombastic tracks two and three, David Arnold tones it down for track four. Access Denied is comprised of what probably are woodwind instruments and synthesizers. The music evokes a mood of mystery, investigation and sophistication with a little pinch of drama. Appropiate elements for the moment where 007 looks up information about Elektra King's kidnapping on the MI6 digital database.
And now, here comes the first awesome track of the soundtrack, which also contains characteristic bars of the main title song. As 007 drives his BMW Z8 trough the oil fields of Azerbaijan to meet Elektra, David Arnold gives us a melancholic and ethereal tune echoing the most identificative part of Garbage's song. In the film we have an orchestrated version, while in the soundtrack we also have an ethnic vocal by Natacha Atlas. Both are very good, altough I personally prefer the film version since I find Atlas' vocals a bit distracting. Anyway, this is the big peak of the soundtrack, the one that distinguishes it as a part of that film and it emphazises the Middle Eastern feeling of the story.
This is the first track to use the music that characterizes Elektra King, which will be repeated often. Piano, trumpets and flute (I think) make up this adorable song which is sexy and melancholic at the same time. It may qualify as ambient music, in fact it is heard as Elektra King visits Valentin Zukovsky's casino L'Or Noir in Baku, but somehow it distinguishes itself from what you can label as source music because I feel this track has personality, is as if it's inviting us to relax, enjoy and feel a bit of nostalgia at the same time. It works that way with me, at least.
The Elektra motif is repeated again, this time in a soft piano version with a few wind instruments in the background. I like it very much, it's romantic but more dramatic and ten times more nostalgic than Casino, but not necessarily better. In fact, I consider it two-dimentional when comparing to the previous one, which I like best. Still, works beautifully for the scene when Bond intimates with Miss King.
011. Going Down - The Bunker (6:27)
Very much in the vein of M's Confession, but with more darkness a than melancholy. It's a very dark theme for the moment where Elektra tortures Bond. It repeats sounds from the first minutes of Going Down - The Bunker and towards the end it makes use of the four notes from Pipeline. Wooden instruments are used for small percussions or a few distinctive sounds, but what hear the most is an approach to Elektra's Theme without precisely being Elektra's Theme. Nothing really special in this track, except for those few charactersitic sounds of Pipeline and Going Down - The Bunker.
The very last track from the movie is beautiful. A piano and a violin (I think) make up a beautiful composition for the very last scene when 007 and Dr. Jones celebrate, as the title says, Christmas day in Turkey. It's utterly melancholic, but at the same time sweet and definitively romantic. I feel like if this melody conceals the magic of Christmas Eve and love at the same time, that feeling of "the pain is gone, now you are with the girl celebrating", also a concealed "goodbye" to us from the film since this is what we last hear before the end credits in the last James Bond film before the new Millennium. Brilliant music here.
This is a vocal version of Elektra's Theme, although the orchestration is much closer to Casino with piano and brass. It was meant for the end titles but replaced for a new version of the James Bond Theme by David Arnold. The inception of this song what when lyricist Don Black felt that Elektra's Theme had a hidden song, and so he wrote it from the existentialist perspective of a man looking back at his love life and remembering an unique woman whose face he sees "from city to city" following him "round all over the place". This song is beautiful and striking as a standalone piece, but I think they did right in scrapping it out of the end titles because it wouldn't have fit the film as a whole or the happy ending between Bond and Christmas. However, I'm glad it made the soundtrack and it's a spiritual succesor of Louis Armstrong's We Have All The Time In The World from On Her Majesty's Secret Service.
020. Sweetest Coma Again*** (Japanese end title song - Performed by Luna Sea and DJ Krush, produced and arranged by Luna Sea) (5:10)
To attract a bigger audience for the film, in Japan the prints of The World Is Not Enough featured a Japanese song titled Sweetest Coma Again, performed by a national band known as Luna Sea and Tokio-born DJ Krush. A translation of the lyrics indicate that the song is related to the film indeed, dealing with a man left in "the sweetest" coma after loving a powerful and manipulative woman, apparently Elektra King. This song is indeed shocking for a James Bond film, particularly with that dance music feeling and the heavy techno melody. I can't really say I like it, but maybe people of Japan think differently. Perhaps a Japanese version of Garbage's song would have been more suitable.
***Only in the Japanese edition of the soundtrack.
Enhanced CD Content (US Theatrical Trailer)
|Left: cover artwork for the German edition of the The World Is Not Enough soundtrack, using the international artwork. Right: back cover for the Japanese CD soundtrack featuring Sweetest Coma Again, their exclusive end title song.|
Some beautiful music for the film was sadly excluded of the CD release, altough two of them were available thanks to David Arnold trough his (now extinct) official web site for a while.
Snow Business (1:16)
It's so beautiful that its omission form the commercial score feels utterly painful. Horns, violins and bells emphasise the beautiful snowy mountains of the Caucasus as Bond and Elektra ski together. Very reminiscent to the beginning of the Ski Chase theme from On Her Majesty's Secret Service. Listen here.
Another good use of the main title tune in a more powerful and steadfast way than in Welcome To Baku, used for when Bond goes incognito to a nuclear facility installation in Kazakhstan. It begins with a pinch of suspense and exoticism and then the crescendo introduces us the melody of The World Is Not Enough with some horns and drums. Again, it should have been on the album. Listen here.
Some of the music never saw the light outside the film itself, starting with the gunbarrel sound (same as Tomorrow Never Dies but slightly more techno). The escape from the Swiss fight and fight with Lachaise's bodyguards featured a cool orchestration of the James Bond Theme, much better than the other techno sounds that made into the soundtrack. My personal favourite is the one heard as Bond kisses Dr. Warmflash, which consists of a few piano notes of The World Is Not Enough with a synthesizer heard in the background. There are other omitted themes, too, an evil music introducing Renard at the Devil's Breath and a cue similar to Remember Pleasure as Renard arrives to Istanbul to reunite with Elektra. The James Bond Theme from the end credits was not released either, it's actually the trademark Bond music intercut with a small suite of music from the film, the cues we can hear in Come In 007, Your Time Is Up. Listen to this Bond theme version here.
Early track listing
It usually happens that the track listing change their titles since their announcement and The World Is Not Enough wasn't an exception. Here's the preliminary track listing for the Bond 19 soundtrack. One track is missing: Casino. Perhaps they decided to add it later. Anyway, I'll post the early track listing before it gets lost on the cyberspace.
- The World Is Not Enough (performed by Garbage)
- Show Me The Money
- Q Boat Chase
- Bonding At The Computer
- M's Confession
- Ski Chase
- Elektra's Theme: The Bedroom
- Spying In Baku
- Going Down
- M And Renard
- Caviar Factory
- Elektra Upstairs
- Christmas In Turkey
- Only Myself To Blame (performed by Scott Walker)
In retrospect, I see The World Is Not Enough as a fantastic album, perhaps my favourite from David Arnold. While Tomorrow Never Dies is very good and it's very Bondian without doubt, I feel like this one is a bit more exotic and the music fits the film perfectly. I would have preferred that Arnold avoided going too techno sometimes, notably in Going Down - The Bunker, but the romantic and "Bond goes to the mission" tracks have an unique feeling.