SHOOT 'EM UP BANG BANG: 15 TOP FAVORITE JAMES BOND THEME SONGS

It’s complicated. That would be my description of my relationship with James Bond movies. I was born during the Cold War and was but a mere babe of five when the first Bond film, Dr. No (1962) was released, so I grew up during the whole “spy mania” craze of the ‘60s with nary a recollection of a world without spies, espionage, and James Bond. Although Boris Badenov and Don Adams’ Agent 86 were more my speed, spy culture was everywhere during my formative years; from movies, TV shows, pop songs (Johnny Rivers’ Secret Agent Man was a personal favorite), fashions, magazines, novels, and, of course, the real-life nightly news. If you think John Travolta's white 3-piece-suit was omnipresent in the '70s...well, that's nothing compared with how many wannabe 007s sought out the instant cool of a white dinner jacket.

Bond movies were intended for adults, but that didn’t prevent them from being marketed to kids during Saturday morning cartoons and in comic books. I had a James Bond doll (excuse me, action figure) and one of those very cool, arsenal-laden Bond attaché cases before I’d ever seen a Jams Bond film. In fact, the first James Bond film I ever saw in its entirety was Live and Let Die (1973) when I was 15-years-old. (I saw and fell head-over-heels in love with the much-reviled, psychedelic Bond spoof Casino Royale when I was 10, so perhaps my ultimately warped perception of James Bond got off to a particularly twisted start.) 

So why did it take me so long to see a Bond film? Well, this is where things start to get complicated. You see, I don’t exactly like James Bond movies. See, even as a kid, I found all those spy shows: The Man from U.N.C.L.E., The Girl from U.N.C.L.E., The Avengers, Secret Agent, I Spy, Mission: Impossible, The Saint, etc. – to be dull as dishwater. The same “shoot ‘em up, bang bang” with different faces was all it was to me. 

When I tried watching the Bond films when they aired on TV, if I didn’t fall asleep, they simply failed to hold my attention. As I've said in previous posts on the topic of action films, I've never found stoic heroism and macho aggression to be in and of itself very compelling. In fact, it just feels redundant and done-to-death.
To this day, the only Sean Connery Bond film I’ve ever watched all the way through is the lamentable Thunderball remake and “rogue” Bond production, Never Say Never Again (1983); a film that marked Connery’s return to the role after a 12-year absence and saw the then-53-old agent succumbing to frequent naps in between saving the free world.

Given what appears to be my indifference to (if not downright antipathy for) the genre, you'd figure I’d just leave 007 alone. But once, again, this is where things get complicated. Spy movies were the westerns of my generation, and James Bond is this mythic figure that looms as a pop-culture staple in my psyche, like Mickey Mouse or Bugs Bunny. Bond was such a pre-consciousness presence in my formative years that it feels like he’s in my blood, if not exactly my DNA. And while I have no problem ignoring the current craze in superhero films, James Bond isn't exactly the same. He's MY era's Star Wars and feels like an indelible fixture in a distant corner of my moviegoing life.

So, of the 24 “official” James Bond films made to date, I’ve seen 13. Can I remember the plots to any of them? No. Do I enjoy them? Yes. Do I like them? No. Funny, that.

And so it goes. It’s like a knee-jerk, spontaneous response. I haven’t missed a Bond film since 1985s A View To a Kill – which featured my favorite Bond villain, the exquisite Grace Jones as May Day, but I do so almost out of tradition and a vague connection to something I’ve never been able to put my finger on. Whatever it is, it’s the same willful surrender to mindless spectacle and purposeless action that drove my interest in disaster movies during the ‘70s.

Daniel Craig is my favorite Bond of all, and Judi Dench was so good she made me forget that I never knew what the hell was going on from one movie to the next. I watch Bond movies for the scope, the explosions, the stunts, the special effects, and the retro “cool” of handsome guys going about in suits and beautiful women kicking ass in high heels and gowns. I seem to like that "idea" of James Bond more than I like the real thing.

And then, there are the title sequences. Even as a kid I was entranced by the dreamlike (now iconic) title sequences of Bond films, often finding them more rewarding than the films they introduced. And the music…the influential James Bond theme and intro music is as identifiable a trademark as the Coca-Cola logo. The individual theme songs...because of their need to reflect the taste of the times and due to their heavy radio play, I easily associate with specific moments in my life.

Since it’s highly inconceivable that I’ll ever devote any energy to reviewing a Bond film on this site (never say never, I suppose),  I do love James Bond theme songs, so here is a list of my favorites. Not the best crafted, well-written, best-sung, or most iconic; simply the ones, in order of personal preference, I absolutely and subjectively adore. And, not being a Bond fan frees me from having to be a Bond purist, so some of my choices fit in the “unofficial” category: songs commissioned and rejected, or end-credits songs that should have been used for the title.

MY TOP 15 FAVORITE BOND THEME SONGS:

1. Casino Royale (1967)

Not officially a James Bond film, but Burt Bacharach's theme music (played to a fare-the-well by Herb Alpert & the Tijuana Brass) is for me the all and end-all of Bond themes ever. Timeless while being oh-so-Sixties, it ranks at the very top of my Bond chart. Since most everyone is familiar with the instrumental version played over the film's animated title sequence, I've posted a single of the rarely-heard complete lyric version by Mike Redway (its abbreviated version is heard over the closing credits). Alpert's horns are sorely missed, but the comic lyrics - and Mr, Redway's voice - soar.

2. Goldfinger (1964)

For my money, everything about this track is practically perfect- from the dramatic arrangement to its slithery lyrics; but, to coin an overused cliché, Shirley Bassey’s forceful and sexy vocals make this the gold standard of Bond theme songs. Anthony Newley (Leslie Bricusse's co-lyricist on this Dave Barry composed tune) does a wonderful version of this song that’s definitely worth a listen.

3. Skyfall (2012)

If Shirley Bassey and Goldfinger didn’t exist, this would be my top favorite “official” James Bond theme. Composer/vocalist Adele (with Paul Epworth)channeled the feel and sound of all the classic Bond songs to come up with the most hauntingly beautiful (and dark) theme of them all. It’s a gorgeous song that has the feel of a dirge, an anthem, and a melancholy love song, all at once. And god, what a voice!

4. Goldeneye (1995)

Tina Turner has a voice tailor-made for a Bond theme, and this sensuous and smoky song (composed by Bono and The Edge) fits her husky vocals to a T. The musical arrangement is marvelously slick and dramatic, but the danger and lurking in Turner’s delivery is what makes this song work. It’s hot!

5. The World Is Not Enough (1999)

This lushly-orchestrated theme performed so seductively by alternative band Garbage (vocalist Shirley Manson) reminds me that, at least in part, some of the unbreakable connection I have to James Bond is due to the films being so outrageously flamboyant. James Bond movies are to the action film genre what Busby Berkeley movies were to the musical. The sheer high-flown theatricality of this song is seductive as hell. This credits sequence is great, but the music video for this song is really something.

6. Casino Royale (2006) - "You Know My Name"

Chris Cornell’s powerful, veins-bulging vocals back up the vivid lyrics in this intense self-penned Bond theme (with five-time Bond composer David Arnold) that gives me goosebumps each time I hear it. The feeling I look forward to experiencing at least once in every Bond film is the adrenaline rush this song gives me. Also, aren't the graphics in this title sequence simply amazing? 

7. Quantum of Solace (2008): "Another Way To Die"

This is a really big favorite of mine. The pairing of singers Jack White and Alicia Keyes in an alternating duet combines several of my favorite things. First, from the time I discovered Cole Porter as a kid, I’ve always had a thing for “list” songs. Here, the cataloging of danger signals that a spy need be wary of (a door left open, a woman walking by, etc.) is just too cool to talk about.  Second, I love when discordant voices blend into something unexpected and perfect. Keyes’ velvet-smooth vs. White’s rasp is like badass dramatic counterpoint in this effectively tense tune. This is the song that has the “Shoot ‘em up, bang bang” riff I used for this post’s title (Alicia Keyes slays on this song). And can we take a minute to appreciate that Daniel Craig has the sexiest walk of any Bond?

7. The Man With the Golden Gun (1974)

This one is a sentimental favorite. part for its very '70 arrangement which I find to be thoroughly infectious, but mostly because I have always loved the voice of '60s pop star Lulu (To Sir, With Love). The song itself doesn't have much to recommend it, even by my fondness for bubble-gum tunes standards, but Lulu's energetic performance makes a strong case for the power of interpretation. Even managing to put over the singularly crass lyric: "His eye may be on you or me. Who will he bang? We shall see!" with cheeky charm.

8. Tomorrow Never Dies (1997): "Surrender"

The official title song by Sheryl Crow is actually quite good, but I really prefer this k.d. lang alternate song, played over the film's end credits. Lang's vocals have the retro sound of Keely Smith or Nancy Sinatra, so that hooks me from the start. But I love the traditional arrangement and classic Bond sound. Crow's song is more melodramatic (always a good thing), but the coffeehouse smoothness of k.d. lang wins out in the end.

9. Diamonds Are Forever (1971) 

The inimitable Shirley Bassey is back, but in place of Goldfinger bombast is a mellow (some would say middle-of-the-road) ballad that soars exclusively due to Bassey's vocals. I can honestly say that had someone else recorded the song, it likely wouldn't have made my list at all. But, c'mon it's Dame Shirley Bassey!

10. Live & Let Die (1973 )

This Paul McCartney & Wings song was all over the radio in 1973 (I was surprised to discover it was the first Bond song to be nominated for a Best Song Oscar) and its '70s sound is one of its most enduring charms. I have always liked McCartney's voice, but my favorite thing about this theme is its elaborate/erratic shifts in tone and tempo. I remember at the time being impressed the old Beatle (he was all of 30 at the time) still had it in him!

11. For Your Eyes Only (1981) - Blondie version 

Although I adored it at the time and it made me a short-lived fan of singer Sheena Easton, the official For Your Eyes Only theme hasn't aged particularly well for me, evoking as it does, unfortunate memories of '80s radio and that era's preponderance of sound-alike romantic ballads. This rejected song submitted by Blondie is more my speed. The song is tres-'80s (but in the best Debbie Harry "Call Me" kind of way) and the guitar riffs sound very '60s spy-mania retro.

12. Thunderball (1965): "Mr. Kiss Kiss Bang Bang"

I've no problem with Tom Jones' memorably testosterone-pitched theme song, but this rejected tune sung by Ann-Margret is more to my liking. Making up for in Rat-Pack-era sultriness what she lacks in seductive menace, Ann-Margret IS a Bond girl even if in real life she had to settle for one of those dreary Dean Martin Matt Helm spy spoofs (Murderers' Row) rather than the real thing. This song has been sung perhaps more effectively by Shirley Bassey and Dionne Warwick (you can find them on YouTube) but when it comes to sex-kitten slink, Ann-Margret has a lock on it, and nobody does it better.

13. The Living Daylights (1987) "If There Was A Man"

The A-ha theme song gets my vote for most forgettable, nondescript Bond theme ever. I had to listen to it again before writing this because it's a song that refuses to remain in my memory. However, Chrissie Hynde of The Pretenders contributed a longingly plaintive, waltz-time ballad that is really lovely. Hynde's low-register voice is ideal for a song like this, which could have come off as too tamely lyrical.

14. Moonraker (1979)

Hmmm, looks like dreamy slow songs are dominating the end of my list. Ms. Bassey again, this time keeping her bombast in check (a little) and giving a gentle caress to this floating romantic ballad. I have a thing for the more melodramatic Bond themes, but quiet ones like this...ones that showcase just how velvety-soft Bassey's voice can be, are a delight of a different sort.

15. The Spy Who Loved Me (1977) "Nobody Does It Better"

Closing out this Top Fifteen list is Carly Simon's rather quintessentially Simon-esque Bond theme. This one is a nostalgic favorite likely to be someday bumped to a lower ranking, but stays firm at #15 because I have always been so crazy about Simon's voice. I played this to death in 1977, so perhaps my waning fondness for it now is a result of prolonged exposure to one too many repeated "Baby, you're the best!" refrains.


BEST JAMES BOND THEME MUSIC THAT ISN'T BUT SHOULD BE

"So Hard"  Pet Shop Boys

From the instant I heard this song on the Pet Shop Boys' 1990 Behavior album, I thought it sounded like it came from a James Bond movie. It has "spy movie" written all over it - not the lyrics, but that absolutely amazing arrangement and tempo. I'd read online that Pet Shop Boys had been approached for contributing a song for The Living Daylights, and there's an odd, unsubstantiated tune that's up on YouTube said to be the result of that aborted collaboration (later reconfigured into their This Must Be The Place I've Waited Years To Leave), but I have my doubts. However, I can visualize a '90s James Bond title sequence accompanying this song with ease.

On a final note, you can't write anything about the music of the James Bond films without crediting composer John Barry (12 Bond films). Along with: Monty Norman, David Arnold, Thomas Newman, and no doubt many others I'm forgetting.  YouTube has a wealth of rejected Bond songs- one the more curious, Johnny Cash's Thunderball.

1965 LP

Do you have a song from a James Bond film that's your particular favorite? Perhaps, one that drives you to distraction? Either way, I'd love to hear about it!

Copyright © Ken Anderson  2009 - 2016

CASINO ROYALE 1967

Despite pretensions to the contrary, this man can’t live by serious, thoughtful films alone. More often than I’d like to admit, my soul cries out for movies that appeal exclusively to my aesthetic sweet tooth. These are usually films of wholly superficial virtues, all surface gloss and totally devoid of substance, yet, for one reason or another, they occupy a place of fondness in my heart that is sometimes at complete odds with their actual merit as films. 

Broadcasting and flaunting their artifice in every glamorous, glossily art-directed, production-designed frame, these movies are proudly escapist, assertively entertaining, and unashamedly lightweight. They transport me back to the days when going to the movies was like entering a waking dream.

David Niven as Sir James Bond

Ursula Andress as Vesper Lynde

peter Sellers as Evelyn Tremble

Joanna Pettet as Mata Bond

Orson Welles as Le Chiffre

Woody Allen as Jimmy Bond

Daliah Lavi as The Detainer

A particular favorite of mine is the 1967 psychedelic spy spoof Casino Royale, a film that required the participation of five directors, at least nine writers, and over 12 million- dollars to become a convoluted, barely coherent, sixties happening. Disjointed, nonsensical, and never-as-funny-as-it-thinks-it-is, Casino Royale is nevertheless a candy-colored, mini-skirted, jewel box of a film that is really a lot of escapist fun if you surrender yourself to its loopy, druggy non-reality. Released during the overkill phase of 60s spy-mania, Casino Royale has the stylish, over-the-top, gadget-heavy look of a serious James Bond film (and some of the action sequences, particularly an early car chase scene, are very well done), but given that TVs Get Smart had been poking fun of the spy genre since 1965 - with considerably more laughs - much of what may have seemed like fresh targets when the screenplay was written, felt old-hat by the time it reached the screen.

In one of many sequences that were shot but never made it into the final film, Joanna Pettet wanders through a pop-art, psychedelic mind trap devised by the Soviet counterintelligence agency known as   S.M.E.R.S.H. 

The stars of Casino Royale are a multinational horn-of-plenty. There's David Niven, Peter Sellers, Ursula Andress, Orson Welles, Woody Allen and Joanna Pettet...and that's just for starters. 

Miss Moneypenny (Barbara Bouchet) and Sir James Bond (Niven)
in danger of being upstaged by the groovy '60s decor

The plot, such as it is, involves the original, knighted James Bond (Niven in starchy British mode) being forced out of retirement when SMERSH takes to utilizing beautiful female spies to strike at the oversexed heart of Her Majesty's Finest. To combat this evil, Sir James does just what anyone else would do under the circumstances; he assembles an army of sexually irresistible male and female agents and bestows upon each the name of James Bond 007.  Ok….

A cadre of distinguished fellow agents (and former David Niven co-stars) converge at Sir James' country estate in hopes of  persuading him to come out of retirement

To keep questions concerning logic at bay (and there are many), Casino Royale wisely distracts with ceaseless scenes of gunplay, car chases, karate battles, and very photogenic explosions, while throwing beautiful starlets and cameo guest stars at the screen at regular intervals. Look!...there’s William Holden and drinking pal John Houston! Look!...there’s George Raft flipping a coin! Look!...there's Jean-Paul Belmondo being all French and everything! Listen...that’s someone else’s voice coming out of Jacqueline Bisset’s mouth! It all happens so fast and with so little connection to what else is going on, it’s a little like watching a celebrity flip-book, but somehow it all seems to come together.

Only 34 years old at the time, an already wizened-looking Peter O'Toole stops by to show Peter Sellers he still has the pipes. Sellers and O'Toole appeared together in the Woody Allen-penned 1965 comedy What's New, Pussycat?, whose popularity the stylistically similar Casino Royale  hoped to duplicate

WHAT I LOVE ABOUT THIS FILM

I'm unable to separate Casino Royale from its musical score. The two are one and the same. To listen to the soundtrack album is virtually like experiencing the film. Scored by the then-untouchable Burt Bacharach, I don’t think there’s a musical score out there better suited to a movie. From the classic title tune (Herb Alpert so seriously nails this song it FLOORS me!) that simultaneously spoofs and pays tribute to the great John Barry James Bond themes, Bacharach’s indubitably '60s yet timeless score is really the best of his career. A Columbia Record Club selection of the month back in 1967, I wore out the stylus endlessly replaying this lp. More than 40 years later, it still sounds just as groovy.

PERFORMANCES

David Niven, Peter Sellers, and Woody Allen are all great, but nothing they do here is markedly different from what you’ve seen them do in countless other films. The big surprise for me is the gorgeous Joanna Pettet. As Mata Bond, the illegitimate daughter of Mata Hari and you-know-who, Pettet shows a surprising flair for comedy light years away from her serious work in The Group (1966). Making the most of a comically cockney accent which she later trades in for finishing-school posh, Pettet exudes so much freshness and sexy star quality that one wishes she had worked more.

Mata makes an entrance

For the most part, the elder members of the cast coast along on a kind of game goodwill. You're less impressed by their performances than you are by their being such good sports about taking part in such silliness. The younger players, for the most part, barely make any impression at all, what with having to compete with spaceships, Frankenstein monsters, and seriously eye-popping art direction.

Career low-point for classy actress Deborah Kerr as the evil agent Mimi: the bedroom scene where she's called upon to beseech the celibate Sir James, "Doodle me!"

THE STUFF OF FANTASY

The women in Casino Royale are all major foxes. Just gorgeous. This in spite of (or because of) the outrageous extremes of late-60s high fashion and makeup tended to make women look like glamorous drag queens. The hairstyles and costumes on display in this film would make Lady Gaga weep with joy.

Ursula Andress (she of the aristocratic forehead) looks like a goddess and is photographed accordingly, but my personal favorite is the darkly exotic Daliah Lavi. They sure don’t make 'em like her anymore. Graceful and sexy with helmet hair and a smoky voice, she is a special effect all unto herself.

And, as this was the late '60s, the boom era of pop-arty, futuristic, and mod fashion, Casino Royale doesn't disappoint in showcasing what must have been an enormous costume budget. Iconic designer Paco Rabanne contributes metallic Roman-inspired military wear, but elsewhere you'll see what looks to be the entire '60s fashion catalog parade before your very eyes.

I know this looks like a 1976 edition of RuPaul's Drag Race, but Casino Royale was heavily promoted in Playboy magazine and in its ad campaign for boasting "A Bondwagon of the most beautiful girls you ever saw!"

THE STUFF OF DREAMS

I just love everything about how this film looks. Casino Royale is like a natural history museum exhibit of the best and worst of the most ostentatious pop fads of the '60s. The space-glam costumes, the enormous hairstyles, the futuristic sets, the plastic Playboy magazine sexuality. Everything is amped up to surreal levels of overstatement and the result borders on the epic. The directors and writers may not have known what they were doing, but the production designer, art director, and costume designers all hit home runs.

Samples of Casino Royale's great set design:

The Decoding Room at Frau Hoffner's Spy Academy

SMERSH Operations Center

The German Expressionist Lobby of Frau Hoffner's Spy Academy

The behind-the-scenes troubles in the making of Casino Royale are legendary (Sellers was fired/quit before filming was completed, scenes were written and filmed with no knowledge of what other directors were doing, last-minute rewrites, money thrown away on sets and sequences never filmed, etc.) and contribute to its scrambled narrative. It's rather something of a miracle that anyone was able to assemble even a remotely coherent film from the acres of footage shot. That the film proved a modest success at all has a lot to do with the timbre of the times: movies that made no sense were becoming all the rage.

Casino Royale, like Barbarella, Myra Breckinridge, and The Magic Christian, was fashioned as a "head film": a movie that either courted young, college-age audiences by attempting to cinematically replicate the psychedelic drug experience, or one that was best appreciated in an altered mind state. As it was also a film fashioned largely by middle-aged men, Casino Royale may have looked very hip, but was VERY old-fashioned in almost every department.

Jaqueline Bissett as Giovanna Goodthighs
Although possessed of a beautiful British accent, it was Bissett's curious fate to have
 her voice dubbed in both this film and Two for the Road (1967)

None of this was obvious to me when I first saw Casino Royale at age ten at the Embassy Theater in San Francisco. All I knew then was that the film looked like a live-action cartoon. Today when I look at it, its kaleidoscopic charms come back as vividly to me as they did then. As for it being a "head film," I guess I can't argue with that, after all, Casino Royale is definitely the kind of movie I enjoy much more when I keep my brain out of it entirely.

Miss Moneypenny and Sir James in The Fingerprint Room

Copyright © Ken Anderson  2009 - 2010