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Average of 2 reviews
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I can only picture David Arnold being at the height of his career when he was entrusted with the subsequent James Bond soundtracks, as this album showcases the sheer love and admiration he holds for John Barry and the songs. Surprisingly, even though it's a cover album featuring a variety of artists, it's remarkably good, with some covers that nearly outshine the originals... and others that don't quite hit the mark. David McAlmont is a singer who doesn't get enough recognition, but I'm not convinced by his falsetto in "Diamonds Are Forever." Aimee Mann delivers a fantastic version of "Nobody Does It Better," making it more psychedelic, seductive, and infectious than the original (with all its '90s charm). Leftfield and Bukem put a "dub" spin on the two themes, which are more of a reinterpretation than a remake, and they're enjoyable in their own right, showcasing their production prowess. I'm not a fan of Jarvis' take on "All Time High," but I adore how Iggy Pop breathes new life into "We Have All the Time in the World." Sarah Nelson channels her inner Shirley Bassey for the '90s, Martyn Fry sings "Thunderball" with confidence and playfulness, and Natascha Atlas makes "From Russia With Love" feel a tad too short. For me, the standout tracks are two: Chrissie Hynde adding a gritty edge to "Live and Let Die," and above all, the most brilliant collaboration: Propellerheads reimagining "On Her Majesty's Secret Service" in their signature breakbeat style (with a touch of Space March) and transforming John Barry's work into '90s electronica. And throughout it all, David Arnold's arrangements shine with taste, skill, and subtlety when needed. It's no surprise he was chosen as John Barry's successor.
Che delusione. Interessante l'idea di reinterpretare i brani dei film di James Bond in chiave moderna. Purtroppo, il risultato è spesso deludente, con canzoni fuori contesto e cover che non reggono il confronto con gli originali.
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