Goldeneye (1996) supposed a radical change in the figure of the indestructible James Bond, adapting his figure and his environment to the changing world of the nineties, for which not only it was opted (rightly) to Pierce Brosnan to incarnate the famous secret agent, but was sought a composer that it would be capable of offering a "new" and different sound to the character; the election of the French Eric Serra supposed a critical and popular fiasco, in spite that in some moments his ultramodern music worked well in the film, therefore in this second delivery it has been sought an alternative route between an actual sound and the classic Bond tone created, mainly, by John Barry in the decade of the sixties. And for this none better than a recognized "bondian" as is the English David Arnold, popular since his spectacular Independence Day (1996). Before anything we must say that Arnold triumphes in all that Serra was failing, mainly in granting an actual sound to the saga without, because of that, losing an apex of its classic identity signs; twelve assorted color cues, from the spectacularity of White Knight to the romanticism of Paris and Bond, going through the very "modern" Backseat Driver, orchestrated and conducted by Nicholas Dodd, that reach an excellent balance between the more extreme symphonism and the most "in" of the moment. It is included, of course, the two songs created for the film: the initial, Tomorrow Never Dies, written and performed by Sheryl Crow, it is called to fill the bigger sale lists and to be nominated to the Oscar; the one of the final credits, Surrender, with lyrics of the perennial Don Black and music of the own Arnold and David McAlmont, is stupendously performed by k.d.lang, and becomes much more succeeded and in the customary line of the Bond films songs. Finally, it has been included a disposable disco version of the Bond Theme, intended for the dance floors and which, of course, were not listened in the film. A.L.

/ A&M 31454-0830-2 / 54'