Copyright 1997 Newspaper Publishing PLC
The Independent (London)
October 24, 1997, Friday
SECTION: FEATURES; Page 11
LENGTH: 349 words
HEADLINE: Pop music review: The David
Arnold James Bond Project Shaken and Stirred (Eastwest 207 382)
BYLINE: Andy Gill
BODY:
After whipping up an emotional storm for Bjork's "Play
Dead" and collaborating with Orbital on the Event Horizon soundtrack,
Oscar-winning soundtrack composer David Arnold is securely installed as
pop's preferred orchestrator du jour. As a warm-up for the next James Bond
movie, he applies his talents here to previous 007 themes, adapted to fit
the diverse needs of various pop collaborators.
In some cases, it's difficult to determine Arnold's input: LTJ Bukem's "The
James Bond Theme", for instance, sounds like a typical Bukem drum 'n'
bass outing, with just the occasional teasing glimpse of the original theme
disturbing the busy surface. Most of the participants, though, have leaped
at the opportunity to give it the full Shirley Bassey, with dramatic orchestral
sweeps sending the kitsch-o-meter right off the scale. Martin Fry isn't
quite up to the task of "Thunderball", but judging by the version
of "Diamonds Are Forever" which opens the collection, this is
clearly David McAlmont's natural habitat. Pulp's "All Time High",
too, has the requisite lotharian charm, Jarvis breathlessly licking at your
ear while Arnold's orchestra oozes seductively.
At the other end of the stylistic scale, Leftfield and Propellerheads offer
more club-conscious grooves, the latter's hit version of "On Her Majesty's
Secret Service" offering the most organic marriage of techno and orchestral
modes. Which leaves a smattering of pieces that don't quite fit into either
of the above categories: Iggy in full bib and tucker for "We Have All
the Time in the World", Chrissie Hynde making an abysmal, lumbering
rock mess of "Live and Let Die", and Natacha Atlas trying to bring
a touch of Eastern Bloc promise to "From Russia with Love". But
Aimee Mann's understated, thoughtful attempt to bring new
life to "Nobody Does It Better" by using harmonium and indie guitars
illustrates the project's overall problem: there are simply too many MOR
encrustations accumulated round these songs for them to be revivified by
either guitars or orchestras. It's like trying to polish a fossil.