Feldman (of What’s New Pussycat? fame) reimagined Fleming’s story as a large-scale, star-studded spy spoof inspired by the Bond mania that swept across the world in the 1960s. Thirteen years later, producer Charles K. In 1953, British author Ian Fleming created one of the most enduring cinematic characters with the publication of his first 007 novel, Casino Royale. Music Composed and Conducted by Burt Bacharach Kritzerland is proud to present a new limited edition soundtrack, one of our two final releases for 2010, this one a very special reissue:

The melody feels as potent and foreboding when transposed to a full orchestra as it does when it’s played in a rock-opera style.CASINO ROYALE IS TOO MUCH… FOR ONE JAMES BOND! Reprising the theme song in a Bond film score isn’t a new practice, but the handoff between Cornell and Arnold, the “Casino Royale” composer, makes the song feel even more timeless. It paved the way for “Another Way to Die,” Jack White and Alicia Keys’ unlikely, woefully underrated addition to the Bond theme collection. “Casino Royale”īut there’s something about the way Cornell approached the task that incorporated the past and carved a way forward.

And while Duran Duran’s “A View to a Kill” is great, all it takes is a few bars to pin down the era it hails from. Adele’s “Skyfall” is a conscious recreation of those early Bond ballads.

It helps that “You Don’t Know My Name” feels like it’s from the 2000s without being constricted by a time period. “Casino Royale” needed an reinvention that attracted a newer, fiercer Bond for the post-9/11 age, but one that was still conversant with the iconography of the character. (“The mericless eyes of deceit,” if you will, as Cornell rumbles in the opening.) It’s something that Sam Smith echoed less effectively in his “SPECTRE” song, an attempt to recreate, in song form, the endless tug-of-war between Bond’s personal and professional entanglements.

Switching back and forth between octaves, “You Know My Name” is a man effectively in a duet with himself, plumbing the lower, sultry half of the melody (“when you return to the night”) just before hopping up into a full-voiced falsetto (“the game that we have been playing”). The song is also an impressive showcase for Cornell’s four-octave vocal range.

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