I think this is a great album, but have to admit that, for the most part, Arnold doesn't do anything too radical with these classic James Bond themes. Instead, most of the album (7 of the 11 songs) is pretty traditional, molding original compositions to contemporary electronic styles without any particularly ingenious interpretation in the vocals.
Songs like David McAlmont's "Diamonds Are Forever," Shara Nelson's "Moonraker," Martin Fry's "Thunderball," and Iggy Pop's "We Have All the Time in the World" seemed pretty much as they did back in the seventies and eighties with Shirley Bassey, Tom Jones, and Louis Armstrong singing them. Others, like Aimee Mann's "Nobody Does It Better" (one of my favorite Bond themes), and Natacha Atlas' "From Russia With Love" actually seem a little weak and seem to *lose* something in their new skins.
On the other hand, Chrissie Hynde seems to breathe a little (but not too much) new energy into the now oft-played "Live and Let Die" and Pulp does a nice-sounding rendition of "All Time High" that's a lot less fluffy sounding than the original.
What I *can* credit Arnold with is collecting some great instrumental interpretations of traditional Bond themes. Leftfield does a great play on "Space March," LTJ Bukem does a smooth (if a little monotonous) version of "The James Bond Theme," and the Propellorheads spin an awesome take on "On Her Majesty's Secret Service" (which includes a short bit of "Space March" in it). If you're a Bond music enthusiast at all, you'd buy it just for these three awesome tracks, which are a perfect blend of 60s pop bases with millenium-era electronic and hip hop sensibilities.
Regardless of the few somewhat lame songs, this is definitely worth your time for the three instrumentals, if nothing else. Arnold has done a great job composing for the last two Bond flicks and this shows his talent and enthusiasm for the project before it began.