Why James Bond theme songs are more than just theme songs.

I was eleven or twelve years old and was playing at a fellow missionary’s house.  Their son, a few years older than me, was my closest friend.   We were probably playing with our combined GI Joe and Star Wars action figures. He started to describe a scene from a movie he had just received on VHS from the US.  It was about this super spy who knew someone was after him.  To trap him, the spy propped up pillows in the bed, covered them up to look like a body and sat by the door playing solitaire.  Quietly, the door opens, and slowly, a hand holding a revolver with a silencer appears from behind the door.  In typical Hollywood fashion, the gun silently goes off six times, shooting the pillows.  The spy yells at the gunman to drop the gun and points his weapon at the would-be assassin.  When the assassin tries to shoot the spy, his gun clicks, and he realizes he is out of ammunition.  

Later, we would watch that movie, and it was none other than Dr. No, the first of many movies featuring James Bond.  

Even though the movie was only 22 years old (that would be like me rewatching The Matrix today), you could tell it took place at a particular time–the movie seemed “classic.”  But it was fascinating: spies, guns, evil villains all taking place in a time period that was foreign to me–it was fascinating.  

Dr. No was the first James Bond movie to feature the famous gun barrel scene and one of the most renowned bass riffs ever.  It wasn’t until the next James Bond movie, To Russia With Love, that the title sequence dipped its toes into what was to become an iconic part of every James Bond movie–the images and silhouettes of dancing/floating women during a full theme song playing behind the credits. The first two movies did not have lyrics to the songs–it wasn’t until Shirley Bassey’s brassy Goldfinger that lyrics were added to the opening theme song.  

Ever since I was a kid, I was always super excited when a new James Bond movie was announced.  Not only was I excited about the movie, but I was also excited about the new theme song.  Who will sing it?  Will it live up to the standards set by previous theme songs?  And, honestly, will it be any good (there have been some stinkers)?  

As much as it pains me to say it, some songs have not met my high standards.  Madonna’s song for Die Another Day has grown on me over the years, but initially, it was tantamount to sacrilege–the electronic music, distorted vocals, and dance beat didn’t have the same gravitas as other pieces.  Another song that just did not live up to the standard is Jack White and Alicia Keys (the only time a duet has performed the song) song Another Way to Die–it just isn’t a good song.  It just sounds like somebody threw it together at the last minute.  More importantly, though, there is no defining, memorable tune.  It is one of the few that could have been a radio top hit, and now no one knows any better.  

Ten years ago, Asher and I were watching Skyfall (one of the top James Bond movies and theme songs).  I posted this to Facebook:

So, ten years later, I decided to expand on this post.  I give you:  

Why James Bond theme songs are more than just theme songs.  

The person/group singing it must have a unique voice–a sound that is all their own and easily recognizable.   Additionally, the song must match the person/group's style.  

Louis Armstrong, Lulu, Tina Tuner, Adelle, Paul McCartney, Carly Simon, Billie Eilish, and Sam Smith are just a sample of the musical royalty who have had the privilege of writing and recording a James Bond theme song. Their voices are theatric, over the top, yet perfect for conveying the sense of love and danger needed in each song.  These are some of the most unique voices in musical history.   Before her untimely death, Amy Winehouse was supposed to record a song for an upcoming movie.  Each of these singers' voices is incredibly unique and is readily identifiable.   Not only that, but the pieces that each of these singers sang sounds like their music.  Adelle’s song sounds like an Adelle song.  A View to a Kill sounds like Duran-Duran’s pop-rock sound from the 1980s.  Billie Eilish’s song, No Time to Die, sounds like a Billie Eilish song.  

Shirley Bassey is the queen of James Bond music.  She recorded three James Bond theme songs:  Diamonds Are Forever, Goldfinger, and Moonraker.   She belts every single note with theatrical sensationalism.  Each song's last sustained note is sung with a spine-tingling intensity.  

The song must be orchestral but over the top–musically and lyrically.

Every song is a combination of rock and roll/pop and full orchestra.  Each song contains layers of strings, layers of brass, driving piano melodies, and, in more modern pieces, layered synthesizers.  Even the slower songs are constantly moving forward with a driving beat.  

The lyrics reference an ever-present danger, a pressing need for survival and love, and are provocative and seductive.  But honestly, they are pretty ridiculous–but in a way that is forgivable because the entire movie experience is ridiculous.  But it's fun ridiculous.  

Let the sky fall, 

When it crumbles,

We will stand tall, 

Face it all together,

At Skyfall.  

Or 

His eye may be on you or me

Who will he bang?

We shall see, oh yeah!

Love is required whenever he's hired

It comes just before the kill

No one can catch him, no hitman can match him

For his million-dollar skill

Or even

Hey driver, where we going?

I swear my nerves are showing

Set your hopes up way too high

The living's in the way we die

Comes the morning and the headlights fade away

Hundred thousand people, I'm the one they blame

I've been waiting long for one of us to say

"Save the darkness, let it never fade away"

Oh, the living daylights

I’m at a loss as to what any of these could mean.  The first one makes a bit of sense.  The second, who will he bang–double entendre much (?), and the third one–huh?!  

These lyrics are acceptable because you know they belong to James Bond.  They can’t be mistaken for another pop song on the radio.  Personally, the cheesier the lyrics are, the more I am going to like the music.  Every piece is written to conjure up a James Bond fantasy.  Which brings us to…

The opening sequence, playing over the theme song, must feel like a psychedelic trip. 

The musical theme for the first James Bond movie, Dr. No, was the instantly recognizable 1960s surf-guitar theme with the driving baseline and screeching brass section.  This theme would be used in all other James Bond movies, in addition to the movie’s particular title song.  

The opening sequence for Dr. No begins with the infamous gun barrel scene that turns into dots flashing in time with the music.  This morphs into colorful silhouettes of people dancing to the beat of bongos, which then transitions into a Jamaican calypso song about three blind mice.  

It wasn’t until the next movie, Thunderball,  that the stylized openings began using what would become the de rigueur standard of silhouettes of guns and very shapely (naked?) women.   Each successive movie’s opening credits seemed to outdo the previous.  From naked silhouettes doing gymnastics routines on the barrel of guns (The Spy Who Loved Me) to actual women covered in well-positioned day glow paint (A View to a Kill) just to keep the movie PG-13. 

The song must have an iconic intro.  You know this is a James Bond theme song within the first few measures.

Every single James Bond theme song begins with a sweeping introduction.  From the iconic bass line that explodes into a flurry of brass to the ethereal organ notes of Diamonds Are Forever to the grand orchestral sweeps of Skyfall and The Writings on the Wall (Spectre).  The song should be identifiable within the first few notes as an exciting, engaging, and timeless piece of music.  The movies from the 80s and 90s have a rock sensibility with driving beats and electric guitars. With the Daniel Craig cycle of James Bond movies,  the songs returned to a more lush traditional sound–like the classic themes of the 70s.  

Last year, a documentary was produced on the music of James Bond; I felt vindicated that the industry recognizes something I have said forever:  the song is equally as important as the movie.  

I need a vodka martini, shaken, not stirred (cue the low cello notes and the bass guitar riff)