Secondly, the title track (Chris Cornell’s vastly underrated You Know My Name) is not on this release. Arnold’s extended and full-blooded version – The Name’s Bond… James Bond – is the final piece on the album and is well worth the wait. There is method in the madness: it announces the moment Daniel Craig’s rookie Bond becomes the 007 we know and love.
James Bond films traditionally begin with the gun barrel sequence and the 007 theme. There may be some expectations going into the soundtrack that aren’t met. It was certainly the best material he had to work with.
Having scored most of the movies up until the Dalton-era, and arranged the legendary theme tune, Barry had established in audience’s minds what a James Bond score ought to sound like: plenty of brass, sweeping strings, with spiky interjections at the exciting moments and a cool jazz riff when Bond is taking a break from playing cards or seducing ladies and doing some spying.īarry himself had been impressed with David Arnold’s interpretation of his Bond scores, and, following a few one-hit wonders, he was the choice for five James Bond films, but his work culminates in Casino Royale – Daniel Craig’s debut as 007, and arguably the James Bond film with the most artistic merit overall. The influence of John Barry casts a long shadow across the world of James Bond on film, which is impossible to overstate. In Casino Royale, Arnold delivered the best Bond score in the two decades since John Barry’s final contribution – Timothy Dalton’s 1987 debut in The Living Daylights. A major contributory factor in reconnecting the world of Bond with its more brutal and stylish roots was the soundtrack – and David Arnold did not disappoint. Casino Royale was the film that reinvented James Bond but also put the movie franchise back on track following the indifferent and blandly corporate Pierce Brosnan era.
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