I think I should first mention the two songs. The first, by Cheryl Crow (and nothing to do with Arnold) has been moaned about continuously since the score came out, however, I think it is a reasonably enjoyable song. My opinion on it changed somewhat after seeing the film and it actually fits in quite nicely at the start. Of course, not being by Arnold, it does suffer from not recurring as a theme in the film so you're not likely to remember how it went by the end of the film. What should perhaps be considered the "proper" song is the one written by Arnold, with lyrics by Don Black which appears at the end of the film and score. It is much more like a traditional Bond song, although I do find it a little on the headache inducing side to be perfectly honest. Still, it's a great song and much more memorable and suitable than the opening number.
As for the score itself, this is
probably the most understated action score Arnold has produced so
far, perhaps something to do with the fact that a lot of the
music from the climax of the film is missing. Still, it gets of
to a tension mounting and finally explosive start in White Knight
which perfectly underscores the opening stunt. With some very
Barry-esque motifs (possibly direct lifts, I'm not sure) as well
as some variations on some of the motifs from Independence Day. Those with a deft mixing of the Bond
theme provides an excellent opening. The Bond theme appears a lot
in this score, most notable in Company Car, which I don't think
actually contains any original music by Arnold at all! There are
some sombre romantic moments, especially in Paris and Bond and
the Last Goodbye when Arnold introduces a bitter-sweet love theme
which sadly doesn't get much more air time after that, which is a
shame. However, in the overall context of the movie (and without
wishing to give anything away) its disappearance is almost
required.
There is more excitement though in Hamburg Break
In/Out, but it is not as full on as with Independence Day and
makes much more use of suspense which I think is to the advantage
of this score (but would have been redundant in ID4). There is
also a liberal sprinkling of synths in stark contrast to Arnold's
other scores which feature few, if any at all. They aren't really
like Zimmer of Goldsmith synths, in fact they are more those used
in pop music and give it a very 90's feel, while retaining the
Barry 60's sound very well. It has been said that the synths
could date the score, but I think the orchestra is used enough
and the synths are never given free reign (don't want another
Goldeneye) so I think it should date no more than any other
modern score containing synths. Perhaps the only cue that will
date is the last score track, Backseat Driver, which sounds
almost like a pop song in its arrangement. Most of the other cues
combine suspense with action and the suspense sections still make
for interesting listening (not an easy thing to achieve).
Overall, this is a great first Bond score (although I'm not
really a fan of many of the others) and gives Arnold a few new
tricks to his palette and demonstrates his abilities to write
great scores.
Rating ~ 
Total Time ~ 53:59
* Co-composed with Alex Gifford of the Propellerheads.