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MOBILE SITE REVIEWS SCOREBOARD RATINGS COMPOSERS AWARDS ARCHIVES ABOUT CONTACT SUPPORT SUPPORT FILMTRACKS! WE EARN A COMMISSION ON WHAT YOU BUY: Amazon.com Amazon.co.uk eBay Amazon.ca NEWEST MAJOR REVIEWS: 1. Deadpool & Wolverine 2. Beverly Hills Cop: Axel F 3. A Quiet Place: Day One 4. Inside Out 2 5. Under Paris 6. Bad Boys: Ride or Die CURRENT BEST-SELLING SCORES: 1. The Mask of Zorro 2. Oppenheimer 3. Willow 4. Space Battleship Yamato 5. The Flash 6. Tomorrow Never Dies 7. Top Gun: Maverick 8. The Time Machine CURRENT MOST POPULAR REVIEWS: 1. Batman (1989) 2. E.T. The Extra-Terrestrial 3. Oppenheimer 4. Solo: A Star Wars Story 5. The Flash 6. Titanic 7. LOTR: Fellowship of the Ring 8. The Creator 9. Spider-Man: Spider-Verse 10. Avatar: The Way of Water MOBILE SITE SUPPORT SITE STATUS RSS ABOUT THE SITE CONTACT US ARCHIVES The World is Not Enough (1999) 1999 Universal 2018 La-La Land Composed and Produced by: David Arnold -------------------------------------------------------------------------------- Conducted and Orchestrated by: Nicholas Dodd -------------------------------------------------------------------------------- Songs Performed by: Garbage Scott Walker LABELS & RELEASE DATES Universal Records (November 9th, 1999) La-La Land Records (November 23rd, 2018) ALBUM AVAILABILITY The 1999 Universal album was a regular U.S. release. Both promos and bootlegs of that album, some with incorrect track titles, floated around the secondary market during the month prior to the commercial album's release. The contents of all those albums were the same. The Garbage song was released simultaneously on a CD single. The 2018 La-La Land album is limited to 5,000 copies and available initially for $30 through soundtrack specialty outlets. AWARDS None. ALSO SEE •Quantum of Solace •Casino Royale •Die Another Day •Tomorrow Never Dies •Goldeneye •The Living Daylights •A View to a Kill •Octopussy PRINTER FRIENDLY VIEW (inverts site colors) Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes Buy it... on the expanded 2018 La-La Land album if you desire some of David Arnold's more symphonically potent cues missing from the original 1999 product, the longer presentation not as dominated by the score's harsher technological passages. Avoid it... if you expect Arnold to offer the same impressively balanced blend of symphonic force and electronica rhythms that made the Tomorrow Never Dies score a classic in the James Bond franchise. EDITORIAL REVIEW FILMTRACKS TRAFFIC RANK: #75 WRITTEN 10/27/99, REVISED 2/23/19 BUY IT -------------------------------------------------------------------------------- • 1999 Album -------------------------------------------------------------------------------- • 2018 Album • 1999 Album Arnold The World is Not Enough: (David Arnold) With the 19th entry in the famed 007 franchise, The World is Not Enough, Pierce Brosnan was comfortably situated as British spy James Bond and the tone of the resurrected series was firmly set in a new technological age. This Bond story differed most significantly from its predecessors because of its greater integration of Bond's superior, "M" (Judi Dench), into the field of action, as well as the ramifications of her relationship with an heiress brainwashed into helping the villains of the day. The lead baddie this time is a sourpuss who cannot feel pain but is ready to use disruption of the world's oil supply to his benefit. At his side is Sophie Marceau, whose classy "conflicted Bond girl" presence countered a comparatively ridiculous Denise Richards as a nuclear scientist, and, at the end of the day, the film was undemanding and quite entertaining. As usual, a handful of outstanding action sequences define this Bond film, and these lengthy scenes are also the dominant factor in David Arnold's music for the project. The young British electronica and orchestra blender had fallen into the perfect venue in which to merge the two distinct halves of his talents. His experience on Tomorrow Never Dies wasn't entirely smooth, with his song replaced and a post-production schedule that prevented a well-rounded album release. Still, his music for the film is generally considered to be extremely strong, the pinnacle of his achievements throughout the years of Brosnan as 007. The mixture of his synthetic rhythms and sound effects was well matched with the jazzy tradition of John Barry and the ethnic and orchestral elements in Tomorrow Never Dies, and his song, "Surrender," was both brilliantly written and performed. Arnold sought to continue the twist of old and new for The World is Not Enough, but given the even higher level of technical sophistication exhibited in the plot, the composer weighted the electronic elements more heavily this time around. This emphasis on his newly trademarked sound of drum loops and excessive metallic effects for the franchise is typically considered the defining characteristic of the work, and it is a style that eventually subsumed the orchestra in Arnold's far weaker music for Die Another Day a few years later. Along with the shift towards the electronica elements, Arnold's music for The World is Not Enough also differed in that it utilized the theme of the title song to a great degree in the score. Arnold wrote the melody for the song, "The World is Not Enough," and his subsequent reliance on especially the three-note fragment containing the lyrics "not enough" is a very satisfying technique of cohesion. Unlike Tomorrow Never Dies, in which the title song eventually had nothing to do with the score, and Die Another Day, which, as Arnold lamented, offered an atrocious Madonna song with no discernable melody to adapt, The World is Not Enough features an extremely strong bond between its song and score. Arnold's adaptations of the melody into his score are far more intelligent than John Barry's old habit of only restating full reprises of his entire themes in lengthy fashion. The fragments of the main theme here, as well as several supporting elements, are really the greatest strength of The World is Not Enough. The performance of the song by Shirley Manson of the American rock group Garbage is lacking in distinctive style. While the instrumentation and progressions of the song are well tied to the Bond franchise, Manson's voice is sleazy rather than sultry, and thus the song comes across as too grungy to support the underlying melody. In these regards, it stumbles with the same lazy attitude as Sheryl Crow and exhibits none of the high class of either k.d. lang or Tina Turner's preceding entries. The album releases for The World is Not Enough also feature the loungey jazz song, "Only Myself to Blame," performed with retro style by Scott Walker over muted trumpets and a traditional jazz ensemble. This song utilizes the Elektra theme's melody but fails to appear in the film and really has no connection to even the casino music that Arnold wrote in his score. If the energy level of the song had been kicked up a few levels, perhaps memories of the song from From Russia With Love would be merited. As it is, however, this inclusion of a totally irrelevant song is disappointing. Aside from the song's melody in the score, Arnold also writes a longing, distant theme for the bittersweet Elektra King. This idea is explored by woodwinds and strings with delicate piano accompaniment in "M's Confession," "Elektra's Theme," and "Elektra Turns," with appropriately fleeting variants that die away in "Remember Pleasure" and "Torture Queen." More appealing than the melancholy Elektra love theme in The World is Not Enough, though, is the straight romance theme for Bond and his various friendlier women. In both this film and Die Another Day, the idea is adopted humorously by Moneypenny as she wistfully imagines herself with Bond, but its primary focus in the first film is on Christmas, the American scientist. The idea opens with the descending, three note "not enough" phrase from the main melody and then deviates into a beautiful theme of its own that owes some tone and style to the Paris love theme from the previous Bond film. The only performance of this idea on the original album occupies the quiet "Christmas in Turkey" celebration cue, with two gorgeous piano renditions leading into an elegant closing statement of Monty Norman's original bass progression. Even more impressive is the fully orchestral performance of the theme in traditional, bloated, Barry fashion in the later released cue, "Snow Business," which accompanies the breathtaking helicopter photography of the scene with bold, tonal horns in all their glory. This one cue (which exposes the theme's substantial similarities to the "Safari" cue from Barry's Out of Africa) is among the few truly symphonic delights of the entire score. The Moneypenny version of the theme can be heard in "Dr. Warmflash" near the beginning of the expanded album. Two ideas represent the villains of The World is Not Enough, and one of those is a recurring motif from Tomorrow Never Dies. While not readily obvious in his representation, the lead villain, Renard, receives an elusive, descending motif in "Remembering Pleasure" and elsewhere in the latter half of the score, though this idea eventually mingles with the Elektra theme for good reason, adopting the piano as means of suggesting the sick romanticism between those characters. Note a more optimistic variation on the idea for the actions of "M" in "M Clocks Locator." Far more enjoyable is the return of a great villain motif in Tomorrow Never Dies that apparently was meant by Arnold to serve the general purpose of multiple Bond opponents and their unseen power. In The World is Not Enough, this idea is best heard at about a minute into the extended version of "Caviar Factory" and reprised at the 4:45 mark. This particular scene remains among the more vicious confrontations Bond has ever had with the usual array of abnormally-armed freaks, justifying the massive arrangement, and the motif recurs with more sinister appeal at 0:34 into "Submarine Surfaces." Read More... Unlike the other two scores in the opening trilogy of Arnold's work for the franchise, The World is Not Enough seems to have fewer clever references to other Bond scores on the whole, though the victorious brass heralding the opening of "Sub Get It" resurrects Barry's wholesome moments of triumph. But the score does contain a few rhythmic motifs that drive individual concepts within its confines, led by a stylish descending action phrase in "Come in 007, Your Time is Up" and "Ice Bandits." An ascending bass string rhythm occupies the later action scenes, taking center stage in "Submarine #1." The remaining major cues in the score vary in purpose between outrageous action, mundane conversational underscore, and a handful of ethnic accents. Arnold doesn't let the conversational cues run long without some reference to one of the score's themes, though few of them are memorable. The ethnic material exists in token pieces throughout the score, including the opening of "Caviar Factory," though it really shines in "Welcome to Baku." While "Welcome to Baku" runs under two minutes, it's definitely a highlight of the work. For the setting change in the plot (and once again another overhead shot), this cue is a brilliant layering of both the traditional Bond rhythmic progression and the main theme of the film, rendered with a stunning blend of percussion, the usual brass, and Natascha Atlas' always-alluring voice. For a reason still unknown, the cue was stripped of Atlas' vocals when it appeared in the film, a definite blow to the sense of awe that the transition on screen attempts to stir. Likewise, the mix of the percussion and electronics in the action cues sometimes varies between film and album. As mentioned before, Arnold's emphasis on the techno elements in his action music for The World is Not Enough is really the score's downfall. One of the great appeals of Tomorrow Never Dies was the fact that Arnold only used his native electronica accents sparingly, leaving many of the early cues truly symphonic and, when the film really heats up, using the drum loops and slapping electronic percussion as an aid to the cue rather than its driving force. For The World is Not Enough, that equation is flipped, with the same drum loops and an even harsher collection of metallic percussion samples (or perhaps they're real; it's hard to tell) mixed at the forefront and drowning out the orchestra's already hyperactive level of activity. The orchestrations and pacing of many of these cues are so frantic that the potentially intriguing intelligence of the ensemble's melodic references are lost in the "wall of sound" approach with which Arnold mixed the final product. There has long been a desire to hear several of the better action cues in The World is Not Enough, such as "Come in 007, Your Time is Up," without most of the electronic accents, and that sentiment applies to an even greater degree with Die Another Day, by which point the post-production manipulation of the recordings became ridiculous. In some cases, this excessive mix of slapping sounds is uniquely appropriate. In the previous film, the "Bike Chase" cue showed a chopping helicopter blade as a lethal weapon, and here, the "Caviar Factory" cue takes that menacing chopper mentality to another level. In this cue, Arnold's blatant slashing sound effects are understandable. In other cases, such as "Pipeline" and the end credits' "Orbis Non Sufficit," the tone of the music is overwhelmed by its abrasive rhythmic pounding and obnoxious loops. There are exceptions, of course. The "I Never Miss" cue is one such curious note; not only are the electronics absent from the cue, making it a close cousin to the first two cues from Tomorrow Never Dies, but its recording quality seems to offer the ensemble in a wetter, livelier mix as well, the flutes especially pronounced. Also in need of discussion is the aforementioned lengthy cue that accompanies the boat chase through London at the start of the film. Heard in "Come in 007, Your Time is Up," this cue is inspiring but frustrating, because if not for the ridiculously distracting synthetic loops and sound effects, it would easily rank among the best of Arnold's production for the franchise. From about 1:55 onward, this cue is a powerhouse combination of both the Monty Norman theme, the primary theme for the film, and a notable new action submotif. Even with its excessive percussion, it's still a largely enjoyable piece, though the equivalent of the gun barrel statement at the start is a bit heavy on the electronics and Arnold's use of an echoing "wop-wop-wop" sound effect (most prominent at 3:15 in the cue) is annoying. The original 1999 album compounded dissatisfaction with the score by omitting some of its most memorable moments, including the opening "Gun Barrel/Bond Has Left the Building," "Balloon," "Snow Business," and "Welcome to Kazakhstan." A 2018 limited and expanded 2-CD offering of the score by La-La Land Records rectified this situation and even provided a separation of the symphonic and electronic and percussive overlays for the opening "Gun Barrel" sequence. Unfortunately, no presentation of just the orchestra and organic percussion mix alone is afforded for any of the other cues. The 1999 album had truncated or combined some cues, and the 2018 album restores the recordings to their original form. Aside from its lack of additional cues from The World is Not Enough with the electronic overlays removed, the 2018 album is an outstanding product and elevates the score's appeal. It even includes the two songs in the right narrative locations. The newly released "Gun Barrel/Bond Has Left the Building" closes with a nice rendering on electric guitar for the Monty Norman theme, and "Show Me the Money" does the same. A ballsy brass motif in "Balloon," foreshadowing a tribute to Barry equal to the later submarine sinking moments, loses the synthetic elements much like "I Never Miss," utilizing a snare drum instead. The love theme variant of the main theme lightly occupies "Dr. Warmflash," foreshadowing the vital "Snow Business" cue for the skiing scene; both these cues are strictly organic, and the chimes in the latter are a nice acknowledgement of the wintry setting. The album presents two versions of this cue, the alternate on the second CD offering mainly a longer resolution at the end. Introducing Elektra's theme with seductive lament is the duo of "Out of the Snow/Stay With Me Please," the latter including an elegant roll of the piano. The two newly released casino cues aren't notable, the former a source piece and the latter rather stale suspense. Equally non-descript is "Devil's Breath." Enthusiasts of the Norman theme will enjoy "Welcome to Kazakhstan," a more subdued cousin to "Welcome to Baku" that includes the score's three main themes in a nice transition piece, highlighted by an enhanced baseline for the Norman rhythm. Expanded versions of "Going Down - The Bunker," "Caviar Factory," and "Remember Pleasure" aren't significantly improved. Both "Bond's Bedroom Bombshell" and "Elektra Turns/Renard's Plutonium Gift" are underplayed conversational cues, though there's much narrative development to like in "Submarine Surfaces/Renard Greets Nik/M Clocks Locator," and "Bomb" once again largely drops the annoying synthetic layers in its action and closes with some nicely nuanced twists on the main theme. The brief "Sub Gets It" is a heroic addition, but the album closes the film presentation with the horrific "Orbis Non Sufficit" credits recording. The 2018 album's second CD features a variety of alternate arrangements and the two song demos performed by Arnold himself. Overall, The World is Not Enough could easily have been an unequivocal four-star score if Arnold hadn't tried so hard to beef up the electronica elements to distractingly obnoxious levels. In its full presentation, the music only barely achieves that rating. There is a happy balance of techno edginess and retro tradition to be sculpted, and Arnold struggled with that equation here before losing that balance completely in Die Another Day. @Amazon.com: CD or Download * Music as Written for the Film: **** * Music as Heard on the 1999 Universal Album: *** * Music as Heard on the 2018 La-La Land Album: **** * Overall: **** Bias Check: For David Arnold reviews at Filmtracks, the average editorial rating is 3.53 (in 15 reviews) and the average viewer rating is 3.27 (in 43,825 votes). The maximum rating is 5 stars. VIEWER RATINGS 12,447 TOTAL VOTES Average: 3.25 Stars ***** 2,466 **** 2,931 *** 3,482 ** 2,398 * 1,170 (View results for all titles) COMMENTS 29 TOTAL COMMENTS Read All Start New Thread Search Comments (Comment Deleted by Poster) Expand >> Mitchell Kyler Martin - May 1, 2016, at 9:11 p.m. 2 comments (1632 views) Newest: February 5, 2017, at 6:05 p.m. by Freddyfrito "Only Myself"/casino music jazzfan360 - January 24, 2010, at 11:57 p.m. 1 comment (2003 views) You gotta admit though, this score opens with a bang! *NM* My Name Is Tim - May 26, 2009, at 2:29 p.m. 1 comment (2317 views) casino music in TWINE Air-lemental - April 26, 2007, at 2:23 p.m. 1 comment (2872 views) Lyrics Mistake John - April 21, 2005, at 4:02 p.m. 1 comment (2403 views) Arnold's Soundtrack JMG - July 29, 2004, at 1:03 p.m. 1 comment (4616 views) More... TRACK LISTINGS AND AUDIO Audio Samples ▼ • 1999 Album: 1. The World is Not Enough (0:32) MP3 (254K) WMA (204K) Real Audio (63K) 3. Come in 007, Your Time is Up (0:27) MP3 (220K) WMA (179K) Real Audio (143K) 6. Welcome to Baku (0:30) MP3 (241K) WMA (195K) Real Audio (157K) 17. Submarine (0:30) MP3 (241K) WMA (195K) Real Audio (60K) 1999 Universal Album Tracks ▼Total Time: 68:21 • 1. The World is Not Enough - performed by Garbage (3:55) • 2. Show Me the Money (1:28) • 3. Come in 007, Your Time is Up (5:19) • 4. Access Denied (1:33) • 5. M's Confession (1:32) • 6. Welcome to Baku (1:41) • 7. Casino (2:55) • 8. Ice Bandits (3:52) • 9. Elektra's Theme: The Bedroom (2:06) • 10. Body Double (3:00) • 11. Going Down - The Bunker (6:27) • 12. Pipeline (4:15) • 13. Remember Pleasure (2:45) • 14. Caviar Factory (6:01) • 15. Torture Queen (2:22) • 16. I Never Miss (3:32) • 17. Submarine (10:19) • 18. Christmas in Turkey (1:27) • 19. Only Myself to Blame - performed by Scott Walker (3:37) 2018 La-La Land Album Tracks ▼Total Time: 141:33 CD 1: (73:55) • 1. Gun Barrel*/#/Bond Has Left The Building*/# (3:13) • 2. Show Me the Money# (1:27) • 3. Come in 007, Your Time is Up# (5:20) • 4. Balloon* (1:03) • 5. The World is Not Enough - performed by Garbage (3:54) • 6. Dr. Warmflash* (0:30) • 7. Access Denied (1:34) • 8. M's Confession (1:35) • 9. Welcome to Baku (1:42) • 10. Snow Business* (1:15) • 11. Ice Bandits (3:42) • 12. Out of the Snow*/Stay With Me Please* (1:27) • 13. Casino Jazz* (2:12) • 14. Casino (2:56) • 15. Card Game* (1:27) • 16. Devil's Breath* (2:08) • 17. Elektra's Theme (2:06) • 18. Body Double (3:00) • 19. Welcome to Kazakhstan*/# 1:32) • 20. Going Down - The Bunker (Extended Version)**/# (8:50) • 21. Bond's Bedroom Bombshell* (0:38) • 22. Pipeline# (4:16) • 23. Elektra Turns*/Renard's Plutonium Gift* (1:38) • 24. Remember Pleasure (Extended Version)** (3:14) • 25. Caviar Factory (Extended Version)**/# (6:03) • 26. Submarine Surfaces*/Renard Greets Nik*/M Clocks Locator* (1:52) • 27. Bomb* (2:30) • 28. Torture Queen (2:24) CD 2: (67:38) • 1. I Never Miss (3:32) • 2. Submarine #1 (4:11) • 3. Submarine #2** (6:26) • 4. Sub Gets It* (0:46) • 5. Christmas in Turkey (1:28) • 6. Orbis Non Sufficit*/# (4:01) • 7. Only Myself to Blame - performed by Scott Walker (3:36) Additional Music: (43:09) • 8. Gun Barrel (Separate Elements)*/# (1:14) • 9. Welcome to Baku (Film Version)** (1:42) • 10. Snow Business (Alternate)* (1:27) • 11. Elektra's Theme (Alternate)* (2:05) • 12. Going Down - The Bunker (6:26) • 13. Pipeline (Full Mix)**/# (4:15) • 14. Remember Pleasure (2:45) • 15. Caviar Factory# (6:01) • 16. Submarine (10:19) • 17. The World is Not Enough (Demo)* - performed by David Arnold (3:59) • 18. Only Myself to Blame (Demo)* - performed by David Arnold (2:56) * Previously unreleased ** Contains previously unreleased material # Contains the "James Bond Theme" written by Monty Norman NOTES AND QUOTES The insert of the 1999 Universal album includes no extra information about the score or film; unlike the album for Tomorrow Never Dies, this one had no dialogue from any of the James Bond films. The insert of the 2018 La-La Land album contains extensive notes about the score and film. Lyrics to "The World is Not Enough:" I know how to hurt I know how to kill I know what to show And what to conceal I know when to talk And I know when to touch No one ever died from wanting too much Chorus: The world is not enough But it is such a perfect place to start, my love And if you're strong enough Together we can take the world apart, my love People like us Know how to survive There's no point in living If you can't feel the life We know when to kiss And we know when to kill If we can't have it all Then nobody will Chorus: I... I feel sick I... I feel scared I... I feel ready And yet unprepared Chorus: The world is not enough The world is not enough Copyright © 1999-2024, Filmtracks Publications. All rights reserved. The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from The World is Not Enough are Copyright © 1999, 2018, Universal Records, La-La Land Records and cannot be redistributed without the label's expressed written consent. Page created 10/27/99 and last updated 2/23/19. Reviews by Title / Year | Scoreboard Forum | Viewer Ratings | Composers Filmtracks Awards | Archives | About the Site | Contact | RSS | Mobile Site