“Another ringer with the slick trigger finger
For Her Majesty
Another one with the golden tongue
Poisoning your fantasy
Another bill from a killer turned a thriller
To a tragedy”
~ ‘Another Way to Die’, by Jack White
performed by Jack White & Alicia Keys,
from the soundtrack to the movie “Quantum of Solace”, 2008
October 2012 marked the release of Adele's new single Skyfall, about a month ahead of the most recent outing of the silver screens's suave super-spy, James Bond, in the movie by the same name. I just adore theme songs from James Bond films, far more than I ought to, far more than is sensible.
Seriously. Adore them.
Adele's offering is a worthy addition to that magnificent pantheon of songs and as such was purchased as soon as it was available. It seems fitting then, at this time, to relive the older tunes. I invite you to come along with me.
Dr No (1962): James Bond theme song by Monty Norman
Contains no particular song save the iconic Bond theme penned by Monty Norman. This tune, erroneously used to intro the idiotic and catastrophically unsuave Sam Newman on The Footy Show, sets the tone for the film series. The familiar strains are used in each movie's soundtrack over fifty years, and the four-note "suspense motif" features in many of the theme songs that follow.
From Russia With Love (1963): Theme song by Matt Munro
The new Adele-crooned tune is consistent with the tradition of big voices, big orchestration, and more than a little self importance as first demonstrated so ably by Mr Munro, with this first lyricised Bond theme.
Goldfinger (1964): Theme song by Shirley Bassey
The first of Bassey's four theme songs (five if you count the almost-Thunderball theme - see below). As Wayne "Wayne's World" Campbell would have it, "the babe can really wail".
Thunderball (1965): Theme song by Tom Jones
Another big Welsh voice, continuing the tradition of Goldfinger in highlighting the villain of the piece. Is there a better musical match for the suave Bond than Jones at his women's-panty-attracting best? Very few I imagine.
The song was actually a late edition to the movie following an edict from the producers that the theme song contain the title of the movie, thus eliminating the original theme from contention. That song? The deliciously titled "Mr Kiss Kiss Bang Bang", recorded by both Shirley Bassey and Dione Warwick. More's the pity.
You Only Live Twice (1967): Theme song by Nancy Sinatra
This theme by the daughter of Ol' Blue Eyes himself. While Nancy cut a reasonable career out for herself (best known for her hit song "These Boots Are Made For Walking" in '66), I'm not certain why they didn't just get daddy dearest to sing the song instead. Nancy had a similar idea, although her query ran in a slightly different direction: the liner notes of the CD version of the 1966 release state that she asked the producers "Are you sure you don't want Shirley Bassey?" No, dear Nancy. You did just fine.
On Her Majesty's Secret Service (1969): no theme song; "We Have All The Time In The World" by Louis Armstrong
Perhaps it was the first absence of Sean Connery in the lead role that prompted a change in tack with OHMSS - the main titles sequence features a synth-heavy, lyric-less piece (the first theme without words since Dr No), which, while more than a tad funky, was not quite what the punters were hoping for. The instrumental, like Aussie George Lazenby in the main role, would not make another appearance in the world of Bond.
The alternate theme song, by Louis Armstrong, is iconic and brilliant. Just like everything else Armstrong ever did.
Diamonds Are Forever (1971): Theme song by Shirley Bassey
Oh my giddy aunt, but the lyrics to this are wonderfully cringe-worthy. In amongst songs abounding in triteness, this song, with its funky disco asides and hackneyed lyrics, is cheesier than a double-cheese-flavoured hunk of cheese with a side order of cheese. I can envisage Ms. Bassey having a ball recording this one.
Live And Let Die (1973): Theme song by Paul McCartney and Wings
When legendary Beatles producer George Martin was given scoring duties on the very, very '70’s Live and Let Die, it must have seemed natural to bring in Paul McCartney for the theme song. It is clear that McCartney was unsure what kind of song he wanted to write, so he wrote several entirely different themes.Then threw the whole lot up into the air confetti style and recorded what came down exactly as it landed. One imagines the Wings troupe smoked much the same elicit substances during the production of the song as Guns 'N' Roses did when they covered the song in 1991. The result? One of the best in the series by a mile.
The Man With The Golden Gun (1975): Theme song by Shirley Bassey
Shirley Bassey is more brassy than classy in this double entendre laden track, each allusion more ludicrous than the last, inspired by Christopher Lee's eponymous villain of the film. Bassey kept getting asked back to record more Bond themes and one can see why. This song is like a car accident, horrible yet entirely attractive to one's attention.
The Spy Who Loved Me (1977): Theme song "Nobody Does It Better" by Carly Simon
The producers had abandoned the old edict of the theme song being named for the movie. The title is somewhat of a misnomer, as an insipid Bond in Roger Moore inspires an insipid piece of soggy pop pap from Carly Simon. Seriously, Daniel Craig's Bond could take out Moore's with one perfectly defined pectoral tied behind his back.
Moonraker (1979): Theme song by Shirley Bassey.
For Your Eyes Only (1981): Theme song by Sheena Easton
Octopussy (1983): Theme song "All Time High" by Rita Coolidge
The grand ol' dame of Bond themes, the incomparable Shirley Bassey, could not, try as she might, lift the first of a trio of flaccid tracks. A sad way for her Bond career to go out. Easton and Coolidge don't fare much better in the latter two. The themes for these movies seem to match a general lull in the quality of the Roger Moore-lead films they represent. Soft, soft, soft. Meh.
A View To A Kill (1985) : Theme song by Duran Duran
Do yourself a favour, check out the extended version of the film clip of this song on YouTube. The clip is a near-perfect piece of pop-culture pastiche that defies logic and credulity in the most delightful ways. Images of Simon Le Bon being chased around the Eiffel Tower by Grace Jones and several magical floating video cameras quite simply never gets old and very much reminds one of a fever dream following too much late-night Merlot and Gorgonzola.
The Living Daylights (1987): Theme song by A-Ha
The preoccupation with Eurotrash pop continues with Sweden's a-ha. Big song, big hair and mascara by the bucket load. When the producers commissioned this track, they clearly had forgotten that a ridiculous (and geriatric) Roger Moore had been ably replaced by a far more vigorous Timothy Dalton. So glad they did.
Licence to Kill (1989): Theme song by Gladys Knight
Huzzah! The producers swap wanky pop nonsense of the previous decade for a touch of class and possibly the realisation that they had a legacy to protect and cheap pop acts were probably not the way to go. Gladys Knight, sans her Pips, elevates the material far higher than it has any right to be. "I've got a licence to kill, and you know I'm going straight for your heart" almost sounds credible when Knight warbles it. Not quite, but almost.
Goldeneye (1995): Theme song by Tina Turner
Penned by U2's Bono and the Edge (while band mates Adam Clayton and Larry Mullens reimagined the theme for Tom Cruise's Mission: Impossible film), Turner sings the living suitcase out of this one. Definitely another song that protects the legacy of Bond themes admirably with grand orchestral strings and incomprehensible lyrics.
Tomorrow Never Dies (1997): Theme song by Sheryl Crow
Ahh, Sheryl Crow, how do I love thee? Thou knowest how to put together a ripping track, and thou dost so thusly. The partnership with the ace producer Mitchell Froom contributes, no doubt. All killer, no filler!
The World Is Not Enough (1999): Theme song by Garbage
Alt-rock band Garbage provides the theme here, which is anything but. Following up Sheryl Crows jangly guitars with some jangles of their own, delicately balancing retro and modern sensibilities. Lead singer Shirley Manson coos seductively, as all the best Bond songstresses have before her.
On the flip side of the movie is an alternate theme by k.d. lang. One imagines both themes being commissioned, with only one finally chosen as the main theme while the other is kept, running over the end credits. The right choice was made.
Die Another Day (2002): Theme song by Madonna
By Pierce Brosnan's fourth (and thankfully last) outing as Bond, the film series had completely disappeared up its own fundament. Likewise went the song, a soulless, vacuous and limp song by an artist who is known even less by the substance of her art than is usual in pop music. Put simply, the song, like most by this artist, is not about the music or the lyrics or the art or even Bond, but all about Madonna. A sad travesty that is best forgotten. Scratch that, even better still would be to never have experienced the movie's pathetic theme song in the first instance.
Worst. Theme. Ever.
Casino Royale (2006): You Know My Name by Chris Cornell
A new era, a new Bond, a fresh song. Cornell, of Soundgarden and the Audioslave, is one of modern music's best rock and roll voices. He absolutely kills it. The song hits with the force of a dozen vodka martinis. Its brutal silliness leaves you shaken and stirred.
Quantum of Solace (2010): Another Way To Die by Jack White and Alicia Keys
Jack White is a somewhat self important artist, perfectly fitting as a co-writer of this overlong, overblown piece of magnificence. While not altogether warmly received, it gets my tick as the greatest Bond theme song ever. Raw yet stylish, lyrically and musically interesting. If there is such a thing as an atypical classic, this would be it.
Skyfall (2012): Theme song by Adele
In the Bond movie franchise's fifty year history, this was the first Bond theme to ever win an Oscar for Best Original Song. A worthy entry into the annals, Adele has the overabundance of talent to be a worthy successor to those who came before her. The song makes no sense, so fits the trope quite nicely.
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And so we look to the future of James Bond theme songs. Adele was clearly chosen for the most recent movie due to her ubiquity in the zeitgeist at the time of Skyfall's making, but I'm thinking a return to the qualities that made Jack White a perfect choice as theme writer - somewhat overwrought, a greater sense of self importance than is absolutely necessary and an over abundance of talent. Am I dreaming, or would this task be perfectly suited to Matthew Bellamy and Muse?
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