Mark Kermode presents an Abbey Road 90th Anniversary Special
Mark Kermode celebrates the 90th anniversary of the opening of Abbey Road Studios with a special show
Last updated 31st Jan 2022
In August, Mark Kermode looked ahead to the 90th anniversary of the opening of Abbey Road with a special show recorded from the Mix Stage celebrating the studios’ film music history from the early 1980s to present day.
Mark spoke to the Head of Audio Products, Mirek Stiles, to discover the stories behind the recording sessions for legendary scores like Indiana Jones, Star Wars, Braveheart, and The Lord of the Rings, exploring why the studios continue to hold such significance for composers, musicians and audiences alike.
Abbey Road's 90th anniversary
Perhaps the most famous recording studio in the world and a global music icon, Abbey Road Studios in London’s St John’s Wood is also the original. Opened on 12 November, 1931, Abbey Road was the world’s first ever purpose-built recording studio, and has been home to 90 years of sonic innovation and creativity, welcoming the artists and composers who have shaped recorded music history and defined popular culture.
The studio’s pioneering engineers have been responsible for the birth of stereo and countless innovations in recording technology, including the iconic REDD and TG recording consoles and techniques such as artificial double tracking. This spirit continues today with Abbey Road Red – Europe’s first ever music-tech incubator, exploring spatial audio, artificial intelligence and beyond.
Abbey Road is, of course, synonymous with the legendary work of The Beatles, but the studio’s unparalleled history spans the wild experiments of Pink Floyd to iconic recordings from Paul Robeson, Fats Waller, The Hollies, Cilla Black, Shirley Bassey, Fela Kuti, Kate Bush, David Bowie, Kanye West, Oasis, Radiohead, Muse and Massive Attack to Florence + The Machine, Frank Ocean, Amy Winehouse, Ed Sheeran, Lady Gaga, Nile Rodgers, Brockhampton, Adele, Celeste, Noel Gallagher, Little Simz and Sam Smith.
Since the score for Raiders of The Lost Ark was recorded at the studios in 1981, Abbey Road has been adding drama, emotion, and magic to the world’s greatest cinematic storytelling. Blockbuster films from The Lord of The Rings and The Hobbit trilogies, Skyfall, most of the Harry Potter and Star Wars series, and the Oscar-winning Gravity and The Shape of Water feature scores recorded here, while more recent projects span Black Panther, Bohemian Rhapsody, Avengers: Endgame, Mission: Impossible – Fallout, Rocketman, The Lion King and the multi-award-winning 1917. The studios have also hosted sessions for video games including Halo 5 and Call of Duty.
As Abbey Road approaches its 90th anniversary, the team is planning a year-long celebration of the studio’s past, present, and future, both within and outside the famous graffiti-covered walls. This includes workshops and masterclasses to inspire the next generation of studio and creative talent; TV, radio, books, and podcasts; live music events and festivals, as well as the definitive documentary film directed by Mary McCartney.
Abbey Road's history with soundtrack recordings
"If you'd asked me about two months ago, I would have said 1981" responded Mirek when Mark enquired about when Abbey Road's relationship with film scoring began.
"But recently we found in the archives a recording sheet that was just simply titled "Mia Farrow, Rosemary's Baby in Studio 2, 1968" and what it was, it was that the opening really creepy opening piece.
"What an interesting film to be done in Studio 2 with John Barry as well". John Barry, who composed the scores for eleven of the James Bond films between 1963 and 1987 had recorded a number of films at Abbey Road, however, Mirek's 1968 discovery would have meant that the soundtrack would have been recorded in an unconventional way.
"Most traditional film recording sessions, even going back to the early days of a film, you would have some sort of picture playback in the room. None of that existed here at Abbey Road until 1981. So 1981 is when film, I would say, started proper."
Braveheart and The Beatles at Abbey Road
Recording Star Wars at Abbey Road Studios
"If you weren't actually directly involved in that session, you weren’t allowed to go anywhere near Studio One, they hired security guards" Mirek revealed when speaking about how much of a tightly kept secret the recording of Phantom Menace was.
"I remember at the end of the sessions, one of the technical engineers literally had to get a saw and was sawing the videotapes in half and then bulk erasing them and then sending them back to prove that they were destroyed."
Mark's Kermode On Film Abbey Road Special
Mark's Abbey Road special is now available in podcast form. Listen to Mark and Mirek talking all things Abbey Road on Kermode On Film here.
Watch all of the clips from Mark Kermode's Abbey Road special here
Now read about James Bond scores here:
Dr. No, John Barry (1962)
John Barry's original James Bond theme has stood the test of time. Not only did it serve as the first film's theme song, but it's since been used in some form in every single Bond film made by Eon Productions. Monty Norman is credited with writing the iconic piece, originally recorded in June 1962, although there was some dispute over whether John Barry was responsible. It peaked at Number 13 in the UK charts, and is the only Bond film to have more than one musical theme used for the opening credits - as the main Bond theme transitions into 'Kingston Calypso' by Byron Lee And The Dragonaires.
The main motif of the piece is performed on an electric guitar, somewhat ahead of its time in 1962 but the sound would have been unlike most other film soundtracks of the age, that's for sure. After the guitar's big moment, the focus is transferred to the brass section, who completely take over with a relaxed rhythm from the drums. The strings are so important though, and mustn't be overlooked - they hold the whole thing together and give it that edgy yet classy vibe that encompasses Bond as a character.
Listen on YouTube here.
From Russia With Love, Matt Monro (1963)
Follow-up film, From Russia With Love, was released just one year later, once again starring Sean Connery in the titular role. John Barry teamed up with Lionel Bart (who wrote the music and lyrics for Oliver! the musical) for the theme tune, sang by The Man with the Golden Voice AKA Matt Monro, best known for lending his vocals to the theme tune for Born Free. It hit Number 20 in the UK charts, and although Matt's version wasn't used for the opening credits sequence, it did appear in the film itself playing out on a radio, and again in the closing credits.
The song is suitably romantic - the word 'love' is in the title, after all - with Matt's silky vocals gently sweeping over the orchestra, which sounds to have almost an Italian or French influence with the accordions. It's easy to imagine Matt serenading a pair of lovers on a riverboat through Venice or Paris. The whole song seems to stay on one, relaxed level, as there isn't a great deal of change throughout the dynamics - but we get a nice big moment at the end, a beautiful sustained note from Matt over many modulations to reach the final chord.
Listen on YouTube here.
Goldfinger, Shirley Bassey (1964)
Sean's third outing as Bond brought composer John Barry back to the franchise's roots for the theme song. 'Goldfinger', performed by the inimitable Shirley Bassey, has much more of a big brass band feel than From Russia With Love. It's got more punch to it, thanks to Shirley's phenomenal performance; she was John Barry's first choice to sing on the track after he conducted the orchestra on her 1963 tour. It went to Number 21 in the UK charts.
The song includes the chromatic step motif from the original Bond theme in the brass section throughout, reminding the listener of its roots. Where 'From Russia With Love' was sedate and soothing, 'Goldfinger' has a lot more light and shade in the dynamics, with sudden movements catching us out and keeping us on the edge of our seats. The final note that Shirley holds so well is so dramatic it could make your own breath catch in your throat.
Listen on YouTube here.
Thunderball, Tom Jones (1965)
It seems as though Tom Jones' voice was made to sing on a James Bond theme. His rich and impressive tones were utilised by John Barry on 'Thunderball' in an apparent last-minute rework, as the original song had been binned since it didn't share its name with the film - a vital factor to producers back then. 'Mr. Kiss Kiss, Bang Bang' was so-called after a nickname that the Italian press had bestowed upon the character of Bond, recorded by Shirley Bassey and again by Dionne Warwick, and after some legal to-ing and fro-ing, neither version was released until 1990. Tom's song got to Number 35 in the UK charts.
'Thunderball' was once again a return to form for John Barry, as it too featured motifs from the original theme. It's similar to 'Goldfinger' in that there are quiet moments suddenly pierced by huge sound - especially where the heavy drums emphasise the brass sections. Tom Jones' occasional shouts just underline the contrast between these two sparring halves of the song; does this perhaps reflect Bond's cool, calm and collected surface as well as his softer, tender layers? Apparently, Tom almost fainted from John Barry's now-characteristic, sustained note at the end - telling the Daily Express in 2005, "I closed my eyes and I held the note for so long when I opened my eyes the room was spinning."
Listen on YouTube here.
You Only Live Twice, Nancy Sinatra (1967)
John Barry once again teamed up with lyricist Leslie Bricusse, who had worked on 'Goldfinger', to produce this shimmering, classy song. It's worlds away from its brash, in-your-face predecessors, and Frank Sinatra's daughter Nancy was the perfect choice to provide vocals for the song. Producer Albert Broccoli had suggested Frank himself, who suggested Nancy, and producers pushed for her to land the gig despite John Barry eyeing up Aretha Franklin. It reached Number 11 in the UK charts.
Nancy's stunningly serene performance on the song totally fits with the style, and her alto/contralto range is sublime. The use of the harp makes it a much dreamier affair, and it stays on a similar level throughout - much like 'From Russia With Love', and in contrast to 'Goldfinger' and 'Thunderball' which had a staccato feel throughout. Of course, pop music followers will recognise the main motif in 'You Only Live Twice' as being sampled in Robbie Williams' 'Millennium' - and the music video was an homage to the Bond franchise, of which Robbie is a huge fan.
Listen on YouTube here.
On Her Majesty's Secret Service, Louis Armstrong (1969)
John Barry returned to an instrumental theme for the opening credits of the sixth James Bond film - the first without Sean Connery, as George Lazenby replaced him. However, Louis Armstrong also recorded a song for the film, becoming the first James Bond song not to carry the film's title as its own. 'We Have All The Time In The World' was instead named for Bond's final line in the film after the tragic death of his wife, Tracy, played by Dame Diana Rigg. Although the song did not perform astronomically in the UK charts at the time of its release, it peaked at Number 3 in 1994 after the band My Bloody Valentine covered it for a Guinness advert, in turn propelling the original back to popularity.
'We Have All The Time In The World' sinks back into comfortable familiarity, taking its lead from predecessor 'You Only Live Twice' in that its style is softer and easier on the ear. It's also predominantly major, unlike any of the other Bond themes, which is surprising considering it is played shortly after Tracy's death. John Barry once said this was one of his favourite Bond songs, saying it was one of the "finest pieces of music" he had ever written for a Bond film, and adding that he'd thoroughly enjoyed working with Louis.
Listen on YouTube here.
Diamonds Are Forever, Shirley Bassey (1971)
Shirley Bassey returned to the Bond franchise to sing 'Diamonds Are Forever', again written by John Barry. She wasn't the only major player to reappear, as Sean Connery also came back to the fold to play the womanising spy after a major pay increase which he reportedly donated to charity. The song only went to Number 38 in the UK charts, but has since become a classic - even being sampled by Kanye West who won a Grammy for his song 'Diamonds from Sierra Leone'.
The song itself creeps in slowly, with very soft 'mmm's in the vocals over a xylophone and woodwind ostinato. Shirley's initial lines only add to the mystical feel, as does her rubato approach to the lyrics. The accompaniment grows slowly underneath Shirley until the end of the first verse, where it suddenly shrinks back - allowing a striking (and very catchy) motif to burst in. This song takes the classiness and tranquillity of 'You Only Live Twice' and pairs it with the drama of 'Goldfinger' - which is possibly why many consider it to be one of the best Bond songs.
Listen on YouTube here.
Live and Let Die, Paul McCartney & Wings (1973)
Roger Moore signed up as Bond for the eighth film in the franchise, and it was the first without John Barry composing the score as he was busy working on musical Billy. The film's producers approached Paul McCartney to write the theme song, who got in touch with George Martin AKA the 'Fifth Beatle', and the producers were so impressed that they took George on to compose the film's soundtrack. Paul wrote the song with his wife, Linda McCartney, and performed it with their band Wings. It became the most successful Bond theme song in the charts at the time, peaking at Number 9 in the UK and bagging an Academy Award nomination for Best Original Song.
'Live And Let Die' is not only one of the most unusual Bond theme songs - it's an unusual song in general. It sounds like three or four different songs all somehow merged together; there are hints of The Beatles in there, but it's such a mish mash of different things that it's difficult to comprehend it as a whole... But it works. The slowly intro builds suspense up to the first utterance of the song title before the orchestra comes in to back up the vocals, then we're suddenly hit in the face by a frantic section that feels like Bond in some sort of chaotic vehicle chase before everything suddenly drops into a few bars of classic chilled-out McCartney. We're then thrust immediately back into the car chase before it turns back into the sedate intro and we go through the whole rollercoaster all over again. The song ends on some sort of interrupted cadence which is, of course, ever so slightly frustrating - but again, it works, and we're left desperate for more.
Listen on YouTube here.
The Man with the Golden Gun, Lulu (1974)
In Roger's second turn in the role of Bond, John Barry returned to pen the soundtrack for the ninth film. Rock god Alice Cooper explained in a 2011 interview that he was set to contribute the film's official song, but he submitted it a day late and the producers had already signed Lulu. Unfortunately, Lulu's song did not chart, and is one of only two Bond songs so far not to do so.
A frantic motif in the orchestration immediately kicks off the song, and the chaotic feel is emphasised in the rhythm as it constantly switches between syncopated and regular - it may not be obvious, but it's enough to make your brain notice that something is afoot. Lulu's transition from legato to staccato in the vocals is also rhythmically misleading - but it's not a bad song. It's just missing the punch of its predecessors.
Listen on YouTube here.
The Spy Who Loved Me, Carly Simon (1977)
Next came the first official Bond song not to share its name with the title of the film - although it does feature within the lyrics of the song. Carly Simon's 'Nobody Does It Better' was written by Marvin Hamlisch and Carole Bayer Sager, receiving two Grammy nominations while the soundtrack was nominated for an Academy Award. The song went to Number 7 in the UK.
'Nobody Does It Better' takes a slight deviation from the norm in other ways, too. Where previous Bond songs are expected to be almost upfront and bold, this is a slow-burning ballad. The whole song leads up to the ending, instead of being erratic like others have been - helped by Carly's emphatic and romantic performance; she really conveys her belief in what she's singing... You know, that Bond is a great lover.
Listen on YouTube here.
Moonraker, Shirley Bassey (1979)
Shirley Bassey returned for the third and final (so far!) time to record a Bond theme song. Frank Sinatra was apparently originally considered for it, before Johnny Mathis was officially offered the song. However, he wasn't keen on the song, pulling out of the project and leaving producers to find a replacement pretty close to the wire. After Kate Bush declined, Shirley was drafted in just a few weeks before its release - and as such, did not promote the song or really consider it to be "her own", as she had with 'Goldfinger' and 'Diamonds are Forever'. As a result, this became the second Bond film not to chart.
Of course, Dame Shirley can do no wrong - but this song itself is another slow burner, although this time it doesn't feel as though it's particularly leading anywhere. It's just a nice, sedate intro with a dreamy feel that fits with the space theme of the film.
Listen on YouTube here.
For Your Eyes Only, Sheena Easton (1981)
Songwriter Bill Conti penned 'For Your Eyes Only' with Donna Summer or Dusty Springfield in mind, but Scottish singer Sheena Easton was suggested after the success of her single 'Morning Train (9 to 5)'. She even appeared in the opening titles of the film as opening sequence designer Maurice Binder liked her aesthetic. The song peaked at Number 8 in the UK and was nominated for an Academy Award. American rock band Blondie wrote and submitted a song with the same title, but it was rejected in favour of Bill's song.
In stark contrast to Blondie's rock anthem, Bill Conti and Sheena Easton's track is a classic 80s love ballad that shares many similarities with Carly Simon's 'Nobody Does It Better' from just a few years previously. The track doesn't bear any resemblance to the "big band" feel of previous Bond songs, with instrumentation focusing on piano, bass guitar, synths and drums.
Listen on YouTube here.
Octopussy, Rita Coolidge (1983)
Regular lyricist Don Black had other commitments by the time Octopussy rolled around, so John Barry teamed up with Andrew Lloyd Webber's regular writing partner Tim Rice. Apparently, Rita Coolidge was chosen as vocalist after Barbara Broccoli - assistant director of the film - played Rita's songs to her father, producer Albert 'Cubby' Broccoli, who immediately wanted her on board. 'All Time High' was not a hit in the UK, and failed to break into the Top 40 in the charts, but did perform well in Europe.
'All Time High' is most certainly in the same vein as 'For Your Eyes Only' - a second 80s love ballad to follow its predecessor. However, Rita's vocals are more mature than Sheena's - this sounds like deeper layers of love, where Sheena's was reflective of the beginning of a relationship. Unfortunately, Rita isn't the biggest fan of the song - telling The Aquarian in 2019 that although she considered it as fitting well within the context of the film, she didn't enjoy performing it and so never does. Commenting on Tim Rice still writing the lyrics when she went into record, she added, "As a piece standing alone, I don't enjoy performing that song because, to me, it was not complete. He was just trying to get it written as quickly as he could to get the vocals done. That's just always been my feeling."
Listen on YouTube here.
A View to a Kill, Duran Duran (1985)
Duran Duran got the gig for the 14th Bond film, which was Roger Moore's final outing as 007. Apparently, it was all thanks to a drunken bout of confidence from bassist John Taylor, who approached Albert Broccoli at a party and asked when he would "get someone decent" to do a Bond theme song, and before long the band had been introduced to John Barry, who worked with them to create 'A View To A Kill'. The song became one of the most successful Bond songs of all time - and is still the only one to top the US charts. It peaked at Number 2 in the UK, the highest position for a theme song at that time, and was nominated for a Golden Globe.
'A View To A Kill' is another typical 80s song - but in a totally different way to the two previous songs. Where 'For Your Eyes Only' and 'All Time High' were ballads, this is a synth-heavy, up-tempo pop hit, pierced with staccato trumpets throughout. The verses are lower energy but there's still an urgency there, and at the chorus the energy bursts through in a controlled way.
Listen on YouTube here.
The Living Daylights, A-ha (1987)
Off the back off Duran Duran's success, producers sought the talents of another pop group - this time choosing Norwegian's A-ha, who had seen huge success a couple of years previously with 'Take On Me', for Timothy Dalton's first film as Bond. The band worked with John Barry to complete the song for the film, which peaked at Number 5 in the UK, but released their own version as a single a couple of years later.
There are not many musical similarities between 'The Living Daylights' and 'A View To A Kill'. This song is much less frantic and has a syncopated rhythm which makes it feel much more relaxed - although it also occasionally has bursts of brass to punctuate the smoothness of the track, perhaps to symbolise bullets and how Bond can never escape the life of a spy he's chosen.
Listen on YouTube here.
Licence to Kill, Gladys Knight (1989)
Eric Clapton and original Bond guitarist Vic Flick were said to be working on the sixteenth theme song together, but when a deal fell through, producers drafted in the 'Empress of Soul' Gladys Knight to sing 'Licence To Kill', written by Narada Michael Walden, Jeffrey Cohen and Walter 'Baby Love' Afanasieff. The song peaked at Number 6 in the UK, and did well in various other European countries.
It's clear to see in the opening intro bars that this song is based on the horn motif from 'Goldfinger'. It's like 'Goldfinger' has been given a smooth, R&B makeover. The verses are constantly switching between major and minor, to reflect the 'Goldfinger' theme - but also, Bond constantly wrestling with his 007 self and his potential desire to settle down. The chorus is solely major, before the unmistakable 'Goldfinger' motif returns in the brass. Gladys' incredible vocal performance in this song totally transforms it, and she's able to amp up the drama in the minimally instrumental bridge, leading the listener to a classic 80s key change and a final rendition of the chorus - and of course, we're treated to that 'Goldfinger' motif one more time before the end. At over five minutes long, it's the longest Bond theme song.
Listen on YouTube here.
GoldenEye, Tina Turner (1995)
It was only a matter of time before the legendary Tina Turner would perform a Bond song - and what better time to contribute to the franchise than Pierce Brosnan's first portrayal of Bond? Especially after a six-year hiatus from the franchise. Written by Bono and The Edge of U2 fame, 'GoldenEye' achieved a Number 10 place in the UK charts, performing well across other European charts. Swedish group Ace of Base also recorded a song for the film, which was reworked into 'The Juvenile' for their 2002 album 'Da Capo' after it was not used for 'GoldenEye'.
The song creeps in with a bass ostinato, as a sudden brass burst lays the foundation for the song. Tina holds back her powerhouse vocals in the first verse, instead opting for a sultry take, and becomes a little snarlier in the second as she repeats the song title - Bond's nickname bestowed by author Ian Fleming. The chorus brings a little drama, but it feels as though there's more to come - which turns out to be true when the second chorus swings by, as Tina really ramps it up, showing off her incredible strength and range. Although there's a frantic descending string sequence at the end, the energy of the song feels like it never really reaches its peak - but perhaps that's a reflection of Bond's ability to keep cool.
Listen on YouTube here.
Tomorrow Never Dies, Sheryl Crow (1997)
Producers made the fatal flaw of releasing Tomorrow Never Dies on exactly the same day as Titanic - AKA James Cameron's epic that stood as the world's highest-grossing film for 13 years. Therefore, however good the film is and however brilliant the song is, it was always going to be overshadowed by Titanic and 'My Heart Will Go On' by Celine Dion. Actress and country-rock singer Sheryl Crow won the lead slot after k.d. lang's song was relegated to the end credits and renamed 'Surrender', with the likes of Pulp and The Cardigans also submitting songs among other groups. 'Tomorrow Never Dies' peaked at Number 12 in the UK charts, and was nominated for a Golden Globe and a Grammy - both times missing out to 'My Heart Will Go On'.
The slightly chaotic opening bars give way to a triple time guitar riff that's very Bond-esque but also has a touch of Western to it - a nod to Sheryl's country roots. Her vocals are so interesting in this song; she sounds almost innocent on the surface, but there's a steely determination underneath - emphasised in her sudden volume and height for the chorus. The energy is stripped back once again for the second verse, but as the bass line is more present this time around, there's more of a force driving us onto that powerful chorus. The intensity continues on until we come to a VERY abrupt ending.
Listen on YouTube here.
The World Is Not Enough, Garbage (1999)
US rock band Garbage became the 19th act to contribute a Bond theme song. Written from the perspective of the film's villain Elektra, played by Sophie Marceau, there were rumours at the time that Robbie Williams, Björk and Melanie C among others had expressed interest in performing the song, although composer David Arnold denied this. The song peaked at Number 11 in the UK.
The intro is about as James Bond as you can get. A harp leads us into a strings-led motif that will recur throughout the song with a twangy, Western-influenced guitar riff underneath. Shirley Manson's vocals glide through the understated verse, slowly building up to let loose at the chorus. The same thing happens at the bridge, leading into the final two run throughs of the chorus - this could be a reflection of Elektra's duplicity.
Listen on YouTube here.
Die Another Day, Madonna (2002)
As one of the biggest popstars of all time, it's no surprise that Madonna has contributed a song to the franchise, having been chosen by MGM as they'd wanted a "high-profile artist" for the film, plus the fact that she'd recorded 'Beautiful Stranger' for the 1999 Bond-spoof film Austin Powers. She co-wrote and co-produced the song with Mirwais Ahmadzaï, who worked on her 2000 album 'Music'. It peaked at Number 3 in the UK and was nominated for a Golden Globe and two Grammys.
'Die Another Day' is not even remotely in the same sphere as any other Bond song we've heard before - or probably since. It's completely techno and electronica, and the only thing that links it to previous Bond songs is the use of strings, really. In production, they've added robotic effects to Madonna's voice, even cutting it at certain points to make it sound like a transmission. Madonna spoke of the song being completely outside the norm, telling Larry King, "I hemmed and hawed about it for a while... Everybody wants to do the theme song of a James Bond movie, and I never liked to do what everybody else likes to do. It's just some perverse thing in me. But then I thought about it and I said, you know what? James Bond needs to get techno."
Listen on YouTube here.
Casino Royale, Chris Cornell (2006)
The Bond franchise was completely rebooted for Casino Royale in 2006, with Daniel Craig as Bond. Producers took us right back to the beginning of Bond's career, and set the story on an alternate timeline to completely refresh the series. As such, the Bond song was also totally new and fresh to anything we'd heard before. American rock god Chris Cornell was chosen to write and perform the song, with producers requesting a song to "reflect Bond's inexperience" as an agent. Chris later stated that he'd taken inspiration from Tom Jones and Paul McCartney's respective Bond songs, and explained that he'd chosen not to name the song after the film's title as he "couldn't imagine it fitting into a song lyric that would come out of his mouth". It peaked at Number 7 in the UK and was nominated for a Grammy.
The music bursts in immediately, led by an electric guitar riff that sounds very quintessentially Bond. It perfectly reflects the new and inexperienced Bond's energy, eager to get on with the job. Throughout the first verse, Chris' vocals with the minimal backing sounds so suave, again reflecting Bond's personality well - but it is pierced by the occasional brass moment, just to remind us all that this is a Bond song, after all. The chorus is just so gripping - the listener is immediately drawn in and will most likely feel compelled to rewind the track and re-listen to it a few times. It just feels so good on the ears - plus a Bond-esque climbing and falling motif can be heard in the brass as another nod to its predecessors, but without being overt. Although the focus is on Bond's youth and a fresh take on the role, Chris' smooth and sexy vocals remind us of Bond's more... Romantic side, let's say. Although the song completely focuses on Bond, that doesn't mean to say Chris has been forced to pull back on injecting his own personality into the song, as there are even elements of the 'screaming' technique right at the end as we reach the climax, a nod to his heavy rock background.
Listen on YouTube here.
Quantum of Solace, Jack White and Alicia Keys (2008)
Quantum of Solace received mixed reviews, as did its theme song. Although the song itself is dramatic and edgy, many fans of the franchise weren't sure whether it fitted into the archetypal Bond theme song that we've come to know and love. However, neither was its predecessor. 'Another Way To Die', was written by Jack White and performed by him and Alicia Keys - making it the first and (so far) only duet in the history of Bond themes. It peaked at Number 9 in the UK charts, and was nominated for a Grammy and a Critics' Choice Award.
Ears are immediately accosted with deep, booming bass guitar, soon accompanied by an echoing piano and the orchestra. The first 43 seconds are completely instrumental - dipping between full throttle and then suddenly shrinking back. Jack and Alicia trade vocal lines, and although it feels a little restrained, the suspense builds in the strings and drums. The chorus brings the energy right back up - but interestingly, the vocals are only accompanied by cymbal-heavy drums and a couple of chords every few seconds. The vocalists are able to bring the intensity themselves with very little backing, despite this being the pinnacle point of the song. It's impressive. This song has been described as 'jarring', which makes sense when you listen to it - the energy is volatile, but it totally works, bringing the drama and stripping it back. It's easy to see how it could be a little chaotic as a Bond theme song - but disregarding its heritage, it's a captivating track.
Listen on YouTube here.
Skyfall, Adele (2012)
Every Bond song is special in its own right. But 'Skyfall' just had something a little bit extra - whether it was Adele's voice or the production by Paul Epworth, everything just came together in that song. Unsurprisingly, it became the first Bond song to win an Academy Award, as well as taking home a BRIT, a Critics' Choice, a Golden Globe AND a Grammy Award. Although it never hit the top spot in the UK charts, it peaked at Number 2 here and made Number 1 in 11 other countries.
Starting with a dramatic orchestral chord that seems to crescendo then diminuendo twice in just a few seconds, 'Skyfall' then moves swiftly into its characteristic piano rhythm, which leads the song by itself for a good 25 seconds - building suspense in an utterly captivating way that works beautifully with the opening title sequence of the film. Adele's stunning vocals are so clear and effortless in this song, and after the first chorus we can hear a signature Bond motif in the brass. 'Skyfall' continues to delight and surprise as it journeys onto the end, and the string section at the end with Adele's monumental vocal climax is pure perfection. The fact that she underwent microsurgery mere months before this was recorded is just astounding.
Listen on YouTube here.
Spectre, Sam Smith (2015)
Shockingly, 2015's film Spectre saw the first time that a Bond theme song has gone to Number 1 in the UK. That's not to say Sam Smith's stunning offering didn't deserve the top spot - far from it - it's simply surprising that none of its predecessors had quite cut the mustard over here, despite Duran Duran's song hitting the peak in the US. It won a Golden Globe and an Academy Award - the second to do so after 'Skyfall'.
In some ways, it does feel like a sequel song to 'Skyfall' - the pulsing piano at the beginning, the big swelling orchestra to signify dramatic parts of the song. That being said, to reduce it to a sequel song is to reduce Sam's talent both in the songwriting and vocally. Also - how could you follow Adele and NOT take inspiration from her work?
Listen on YouTube here.
No Time To Die, Billie Eilish (2021)
The most recent Bond film was plagued by upheaval, thanks not only to the global pandemic but also creative differences after director Danny Boyle left the project. Its original release date was November 2019, with a few rescheduling efforts, and was finally released in September 2021. American singer Billie Eilish became the youngest ever Bond theme performer at just 18-years-old, co-writing the song with her brother Finneas, who also produced it. The song featured orchestration from Hans Zimmer, who wrote the film's score, and guitar from Johnny Marr. The song was nominated for a Grammy Award, and scored a Number 1 chart position in the UK.
In true Billie Eilish style, the song 'No Time To Die' is ethereal, slightly sinister and unsettling - one of the darkest Bond songs so far and possibly a reflection of Bond's vulnerable state in the film, having left active service at the beginning of the film. The beauty of what Billie is able to do with her voice makes it plain to see why she was chosen, and a muted flair in the brass in the second verse sounds almost creepy - adding to the dark tone of the piece. The guitar in the chorus sounds like it's straight out of a Western - which could be a nod to any potential stand-offs between Bond and his adversaries, as well as a harkening back to the classic, twangy-guitared Bond theme. The orchestra picks up after the first chorus with a stormy crescendo, quickly dropping back down just a little for the second verse and goes full throttle with an incredibly powerful vocal line from Billie towards the end, before almost everything is stripped back for the final moments, with a signature Bond-esque guitar chord to round it off.
Listen on YouTube here.