The music of James Bond

The Music, or rather the Songs, of James Bond

Nothing is better for my motivation to write than someone else screwing up. So, in honor of James Bond and all those associated with the music  from these (mostly) fantastic films, I have decided to write a short review of all the songs from the series, chronologically of course.

Dr. No (1962)

Monty Norman - The James Bond Theme

No real song, but the infamous James Bond theme originated here. There is still some controversy surrounding who actually wrote this, as Barry refused to deny rumors that Monty Norman had taken undeserved credit for it all these years. Nevertheless. This is an absolutely haunting theme, repeated in countless variations over the years. Only John Williams' main theme from Star Wars comes close to the James Bond theme in fame. And it's not really a close call, just somewhat. Brilliance!

10/10

From Russia with Love (1963)

Matt Monro - From Russia with Love

Entrance John Barry for what was to be the most famous franchise-composer collaboration in Hollywood history.
A true crooner, Monro brings real weight to this orchestral ballad. A rather soft ballad, though, lacking the aggressiveness one later came to expect from John Barry when working with 007. Still pure quality though.

7/10

Goldfinger (1964)

Shirley Bassey - Goldfinger

Thus starteth the aforementioned aggressive ballads.With a screaming intro, Barry sets the pace for a classic Bond-song. Bassey adds more than him, though, spiraling in and out of the chorus with panache and fury, leading to one the true brilliant crescendos of this decade.

9/10

Thunderball (1965)

Tom Jones - Thunderball

John Barry was never more lazy than this, repeating a 5-note intro in every second line of music and leaving most of the rest to the Welshman. Fortunately for Barry, Jones is quite good here, saving what is a very mediocre tune with a set of lungs unequaled since.

6/10

You only live twice (1967)

Nancy Sinatra - You only live twice

An astute orchestral ballad, with more strings than trumpets as Barry finds his romantic side. Sinatra provides a perfectly smooth accomplice, making this a most memorable song without ever really needing to bring out the big guns. 


7/10

On her Majesty's Secret Service (1969)

Louis Armstrong - We have all the Time in World 

In perhaps Barry's best score comes the late, great Satchmo. A pure ballad, low on Barry's patented horns, Armstrong's characteristic voice was rarely more beautiful than this. So low-tuned that it was thought to set the wrong mood if played during the vignette, this song is the only one ever to be played during the closing credits, in the only Bond-movie without a happy ending. Gorgeously fitting end in all ways.

9/10

Diamonds are forever (1971)

Shirley Bassey - Diamonds are forever

Less fury and more bleeps this time around as Barry and Bassey both fail to recreate former heights. Not a bad little tune, but more dull and less varied. Barry tries to speed things up in the third verse, but the magic just isn't there.

6/10

Live and let die (1973)

Wings - Live and let die. 

Strangely for a Bond-tune this starts off on a slow note with a piano and Paul McCartney. As the chorus beckons the tendencies of a ballad are all long gone. Until the bridge, which is just crap. But 3/4 of this song works fine as McCartney seems to toss a bit too much into at times. But it doesn't get much more dramatic than this.

7/10

The Man with the Golden Gun (1974)

Lulu -  The Man with the Golden Gun

In a very disappointing film, I suppose it's only fitting with a somewhat disappointing song. With a melody that seems perfect for Shirley Bassey, Barry opted for Lulu and although she is nowhere near bad, it would appear that she struggles for the effect that Bassey could have gotten in her sleep. Plus for bringing a bit of aggressiveness back, but it's not quite good enough.

5/10

The Spy who loved me (1977)

Carly Simon -  The Spy who loved me

It is exceptionally, unequivocally clear that this tune has nothing to do with John Barry as Marvin Hamlisch took the reins. A very straight pop-ballad and not a horn in sight. I find this song cute despite Simon's obvious shortcomings when compared to earlier singers like Monro, Jones and Bassey, though, and most fitting of a rather romantic Bond-flick that is a little better than it's reputation.

6/10

Moonraker (1979)

Shirley Bassey - Moonraker

This tune is in no way interesting. There's very little of anything here. Barry's composition is most uninspired and Bassett tries to get away with just showing off her voice here and there, without really making this song hers. Most worthy of being forgotten.

4/10

Octopussy (1983)

Rita Coolidge - All Time high

What the hell is this? Bill Conti does Bond. And it's terrible. An absolute monstrosity of a song, made worse by a singer that has all the wrong traits for the melody. I have no idea how people with a musical background managed to pick this stinker, nor why idiots bought the single later. Horrid, absolutely horrid.

1/10

A View to a Kill (1985)

Duran Duran - A View to a Kill

And there we have it. The normal aggressiveness  in a Barry-intro. Thank God. Duran Duran has a nice sound to join Barry's fondness for huge horns and short, catchy themes. This is one of Barry's best scores and Duran Duran does not let him down with a song very much perfect for its decade.

7/10

The Living Daylights (1987)

A-Ha - The Living Daylights

Magne Furuholmens synth proved a nice intro for another Barry-composition and with Morten Harket we certainly have a broad-spectred singer again. It does seem a bit flat though as the aforementioned synthesizer whimpers bleakly where there should be triumphant horns and drums. In hindsight, this could have been a consequence of the fact that Barry later said he thought A-ha was a nightmare to work with.

6/10

License to Kill (1989)

Gladys Knight - A License to Kill

And: For the first time in more than two decades. A huge, orchestral John Barry ballad. It is better than Moonraker, but not that much as it has all the shortcomings of an 80s-ballad (a decade later) and seems to be short a bit of weight, both in the arrangements and vocals.

5/10

Goldeneye (1995)

Tina Turner - Goldeneye

Eric Serra wrote the score, but this mediocrity was written by Bono. I'm sad to say it's as dull as most of his other works and Tina Turner is unable to lift it out of the mire. It's not a bad attempt on her part, though. It never really goes anywhere, building up here and there but always landing in it's own boring path. Get a job in UN, Bono and stop harassing my ears.

3/10

Tomorrow never dies (1997)

Sheryl Crow -  Tomorrow never dies

For some reason, this was the first Bond-song not to break into the billboard. I guess that goes to show I will never understand the masses. Crow and Arnold make a good couple here as Arnold throws in some very Barry-like guitars and intros to Crow's hoarse, lingering voice that even fits the mood of the lyrics. All in all a very thorough and good song.

8/10

The World is not enough (1999)

Garbage -  The World is not enough

Another female with a voice full of gravel as David Arnold continues to deliver trombones and guitars so Barry-esque it begs belief. Though it sets a nice, sneaking tone, it feels a bit flat, lacking a singer with some deep, deep tones and uncomfortably large lungs.

6/10

Die another Day (2002)

Madonna - Die another Day

I don't like Madonna. I never saw any reason to respect her as a singer nor a composer. Though a brilliant PR-machine, her contribution to music as an art-form is non-existent. And in that respect she delivers perfectly here. This is as drab, flat and as soulless as anything she has made the last 20 years. Her mediocre vocals add nothing to this festival of bleeps and beeps. If I was to guess, the violins in the background that save her from the absolute pit is Arnold's but there you have it.

2/10

Casino Royale (2006)

Chris Cornell -  Casino Royale

Now that's more like it. Rock with some pace in it. Who would have thunk it? A smart, sassy song, delivered nicely by Cornell, with just the right sounds, and horns in just the right places. Another singer that makes you miss the depth of Jones and heights of Bassey, though.

8/10

Quantum of Solace (2008)

Jack White & Alicia Keys - Another way to Die

With perhaps the worst Bond-movie ever, came this more experimental piece from Alicia Keys and Jack White. Though I see that this is a most genius attempt, it doesn't turn out as it could. White and Keys have a very varying harmony, and you need perfection at that with such distinctly different singers. Keys comes across as her most annoying self at times, whining, moaning and shouting. Never a good thing. The interludes also fail when it comes to consistency, making this the only Bond-song that simply doesn't seem well-arranged.

3/10

Skyfall (2012)

Adele - Skyfall

A snarling horn taken by a dull piano. Adele's simply doesn't add the necessary ingredients to the verse. Thankfully for her, Arnolds build-up is very nice and takes us beautifully into a more ordinary chorus (with some nice orchestral arrangements). Generally the arrangements and the production here is good, but the melody line and a somewhat monotonous Adele never allows to explode like it should.