Additional Music by Howard Goodall

Conducted by Edward Shearmur

Orchestrated by Robert Elhai and Jeff Toyne

Performed by The London Metropolitan Orchestra

            Decca Records             Produced by Edward Shearmur and Steve McLaughlin

            Release Date: March 18, 2003

            
     Though one would think that the three Austin Powers flicks would have been enough by now, apparently  the British disagree and set out to parody the James Bond persona themselves (as they pretty much invented the whole spy genre to begin with) courtesy of Rowan Atkinson. Though only time will tell if U.S. audiences respond well to Mr. Atkinson's turn as a secret agent (the film opens in America come July), Edward Shearmur's score proves to be a wonderfully witty comment on the musical style of the Barry Bond scores that can proudly take it's place next to George Clinton's work on the Austin Powers series.

     The album opens with, naturally, a parody of the typical James Bond title song, belted out with flair by Robbie Williams. Fittingly appropriate, the title song is almost as perfect as a title song is likely to get, though by the end of its almost four minute running time, it has gone on just a tad too long. Cut in half, it would have been quite sufficient. Two other songs are scattered about the album, though they serve more to distract from the fun than anything else. Also included are two pieces from the group Bond, one utilized as source music, followed by a "Salsa version" of the main theme, which is fun but nothing more.

     Instead of being a parody of strictly Barry's work, Shearmur instead opts to incorporate many of the styles from newer incarnations of Bond, thus imbuing the music with the feel of David Arnold's work on the series, courtesy of electronically-driven and blaring horns. This is readily apparent from the first score track which presents the theme for Johnny English. It's at once recognizable as parody of the James Bond theme, but at the same time it stands by itself quite well as a tongue-in-cheek action theme and Shearmur takes many approaches with it throughout the score. But instead of simply mimicking the Bond theme, Shearmur goes all the way with the parody and emulates other styles and sequences from Barry and Arnold. In this regard, Truck Chase is the penultimate cue combining the string work of Barry with the blaring trumpets of Arnold in a beautifully constructed piece of action music.