This week marks the US release of the twenty-third James Bond feature film, Skyfall, and last month saw the debut of its theme song, performed by Adele. We gave you our take on the film already, but our sister music site, Beats Per Minute, have counted down the ten best theme songs in the series run. Check out the article from BPM contributor Ray Finlayson below.
One could argue that the Bond title song is almost as important as the film itself – or at least there are certainly instances where the song sticks in your head more than the film. Over the past fifty years, we’ve been introduced to Ian Fleming’s conceived world of Bond: a world of guns, villains, and a charm as smooth as the perfect vodka martini. In a way the Classic Bond Film™ is an outdated product of decades past, where women were seldom more than objects to overrun by Bond’s charm, where evil masterminds could live in volcanoes, and where everything could be solved by a convenient gizmo, an instantly desirable gadget, or sultry one-liner.
The Bond Song, though, can go beyond all this, and be a timeless product that will resonate for decades after its release. What follows then is a list of arguably the best title songs from the James Bond catalogue. One could ponder over what makes a winning Bond Song, and hypothesize over a potential formula, but as decades have moved on and styles have changed, it’s become evident that there is no real winning way to construct one.
There are, of course, ways not to do it. It’s fairly obvious why Chris Cornell’s “You Know My Name” isn’t on this list, nor on the official Casino Royale soundtrack, and the less said about Madonna’s tacky and glitchy “Die Another Day” the better (only redeemed in the slightest of ways when compared to her woefully unneeded cameo in the film). “Another Way To Die” has all the horn and string fanfare (and I do love me some crunchy Jack White-guitar work) but dare I say it sounds too American for what is essentially a British institution? And Lulu’s “The Man With Golden Gun” has an opening line that would even the most misogynistic sexual innudeno-loving Bond-fan wince.
But before we get started, a disclaimer: While I could very easily have put Monty Norman’s classic “James Bond Theme” from Dr. No in first place, I’ve decided to omit it from the running. Without a doubt it’s the quintessential sound of Bond himself – of him walking nonchalantly through M16 headquarters, of him engaging in fisticuffs with a henchman, of him riding a vehicle of any sort through an explosion, of him inevitably seducing a woman – and it’s only matched by John Barry’s subsequent themes, but it seems a little unfair to pair it against more conventional “songs.” Anyway, let’s get going.
10: Rita Coolidge – “All Time High”
From the film Octopussy (1983)
“All Time High” might initially sound like something taken from a glittery lounge bar somewhere in L.A. with its sexy introductory sax riff, but it soon slips into something more familiar. The song marked a return to songwriting duty for Bond theme composer John Barry, and once the chorus and strings start soaring, he sounds like he never left. Coolidge also casually worms her way into the surroundings, sounding both seductive and seduced and proving that you don’t have to utter the title of the film to stick in the listener’s mind. Then again, it’d be a hell of a feat for anyone to be able to slip the word “Octopussy” into a song and still sound sincere.
9. Shirley Bassey – “Diamonds Are Forever”
From the film Diamonds Are Forever (1971)
If proof be needed that Bond Songs are timeless, then “Diamonds Are Forever” is a fine example of this, attaining a new set of listeners when Kanye West took to rapping over it. Bassey’s huge voice contrasting with the icy keys is a wonderfully chilling juxtaposition, and the tempo change changes makes it sound ahead of its time, creating an inspired sense of movement when it picks up.
8: Duran Duran – “A View To A Kill”
From the film A View To A Kill (1985)
Duran Duran’s “A View To Kill” might be a relic of its time (seriously, that video…), but that doesn’t mean it’s not quintessential. All flashy staccato strings and thunderous drums, it sounds a bit like a forgotten song from a game you might have played on your SNES or Sega Megadrive. Simon Le Bon shows that you don’t need a smooth or thunderous male voice to get the job done, and it’s also one of the few songs that carries itself without the film of the same name behind it – the fact that it’s the only Bond Song to have reached Number One proves this.
7: Tina Turner – “GoldenEye”
From the film GoldenEye (1995)
“GoldenEye” could be seen as “Goldfinger” for a new era of Bond films, with its snazzy brasswork, sneaking pizzicato strings, and smouldering finger snaps. Or, maybe Tina Turner is just a welcome stand in for Shirley Bassey. If the latter is the case, then Turner holds nothing back in delivering what might be her best vocal performance ever, if not the best of all the modern Bond songs (which was written by Bono and The Edge… yeah, I didn’t realise that either, but hey, what can you do?). She snarls and prowls (like the cougar she is), but she also manages to pull off a bit cheekiness, too, with lines like, “If I had him I wouldn’t let him out.” I’ve heard people describe this as their favourite Bond song, and considering GoldenEye as both a film and a classic N64 game hold a special place in many people’s hearts, it’s only fitting that they want the great sound of the title track to be stuck in their head, too.
6: Garbage – “The World Is Not Enough”
From the film The World Is Not Enough (1999)
There’s a disastrous moment in The World Is Not Enough when Bond (played by Pierce Brosnan) utters the film’s title as a retort to “I could have given you the world!” Every time I hear it I embarrassedly hold my head in my hands, and I hope the film’s writers do, too (they should pretty much keep their head in a perpetual state of hung shame, but this isn’t a film review). Shirley Manson of Garbage, however, sells the line brilliantly – over and over. She teases during the verses, and lets rip during the chorus, all the while sounding like she’s keeping something from you. The world might not be enough, but Manson sounds like she’s got what will suffice behind her back. Marrying David Arnold’s desire for a huge orchestrated Bond song to Garbage’s own smouldering rock-balladry, the haunting and enchanting song is one of those instances where the song seems to outdo the film.
5: Sheryl Crow – “Tomorrow Never Dies”
From the film Tomorrow Never Dies (1997)
I like the Bond songs that sound like Bond music you’ve known ever since you first saw the man order a vodka martini. Ones that are orchestrated cleverly in a way that sound like their paying homage to the sounds and melodies of John Barry’s work, and one that’s sound dashingly fresh and original. “Tomorrow Never Dies” is a song I keep hearing in slightly different forms when I watch films around it, fitting the chorus melody into new keys and time signatures. It’s no bad thing that Sheryl Crow’s Bond song has turned out to be malleable. If anything it’s surprising considering how much a strong statement it makes for itself. Crow’s voice might seem like an odd choice to some, contrasting the stereotypical grand and operatic sound of past singers, but it brings a sort of fighting-through-tears power to the table. If that’s not for you, then there’s little to dismay over as the rest of the track is surrounded by glorious, descending strings and piano, opening the page for Crow to write and bleed all over.
4: Nancy Sinatra – “You Only Live Twice”
From the film You Only Live Twice (1967)
If “You Only Live Twice” is to be remembered for anything, then it’s those opening bars, which are so sultry and flattering that it’s no surprise a pop star like Robbie Williams wanted to get his hands on them. In a way, the strings (part of a full 60 piece orchestra, no less) outdo Nancy Sinatra vocals, but her smooth voice slips amongst the orchestration comfortably, like a perfume through the air. The oriental tinge in the instrumentation is a notable touch, too, and is a charming ode to the content from the film itself. For all its velvety glory and sleek allure, “You Only Live Twice” transcends the majority of other Bond Songs for capturing a near-perfect sound.
3: Shirley Bassey – “Goldfinger”
From the film Goldfinger (1965)
Arguably the most famous Bond Song, “Goldfinger” grabs your attention without a moment’s notice with its heady, dark-tinged horn fanfare. From thereon in Bassey gets bigger and bigger with each verse, until her thunderous voice sounds almost too huge for the song. It’s not until the final flourish that the song sounds like it’s catching up, when it finally blares out in a last-ditch effort to match her. It’s also seasoned brilliantly with a couple of other classic Barry motifs, playing out in true Bond fashion. It’s kind of funny, though, that a song as widely recognized and acclaimed (it is often credited for “perfecting the ‘Bond Sound’”) as “Goldfinger” is all about the film’s villain.
2: Paul McCartney & Wings – “Live And Let Die”
From the film Live and Let Die (1973)
The brilliance of “Live And Let Die” is down to the fact that it’s pretty much just a Wings song with a Bond-esque sheen put on top. The piano balladry, the reggae swagger, and those backing vocals all seem like staple things in their world, but the rush of strings from the booming breathes full orchestration seem a little too bombastic to be just another experimental sidetrack. It doesn’t really matter, though, as what makes the song so effective is that not only do McCartney and his band makes it sound seamless, they also make it their own. For just a second I imagine McCartney thinking of himself as the tuxedo-ed hero running from exploding warehouses and driving fast, expensive cars down busy city streets. It’s one thing to capture the essence of the film, or just a one of the film’s characters in a Bond Song, but no one else sounds like they’re having as much fun living out their Bond fantasy.
1: Carly Simon – “Nobody Does It Better”
From the film The Spy Who Loved Me (1977)
When Thom Yorke described “Nobody Does It Better” as the “sexiest song that was ever written,” he might have had his tongue tucked ever-so-slightly into his cheek, but I don’t see why this can’t actually be the case. Describing what it is that warrants this accolade isn’t quite as easy; the best things, whether they are fine wines or fine songs, just need to be experienced first-hand to be fully appreciated.
Nonetheless, there’s still so much to appreciate about this track that can be boiled down to a simple appreciation of its musical parts: the inviting opening piano line from where the high and low end go on to talk to each other; the moonlit strings that sweep in an out of the picture; the underrated drum fills adding a welcome sonic detail; the humbly triumphant horns as the song fades to a close. And then of course there’s Simon herself, singing perfectly in a way that glides between sexy, sultry, and – risking an attack from the Freudians – just a bit motherly, too. It’s the sentiments that make it, though, capturing the charming and overwhelming womanizing power that most men will perhaps be a little too shy to admit they would love to ignite amongst those they’re attracted to. “Baby, you’re the best,” Simon sings. She’s so right.
Skyfall opens everywhere on November 9th.
What are your favorite Bond songs?