Your Spectre Against Mine

So, it's 2015, which is important for only one reason..........Spectre, the 24th instalment in the long reigning James Bond movie franchise, is released in October. This is quite simply the only significant thing happening this year.
You may always remember 2015 as the year you bought your first house, or got married, or had your first child, Timmy (Ahhhhhh)... Fuck that, it's all about Spectre!
Nah, I jest. There is, of course, one other important thing happening this year.....the release of the Spectre theme song, or 'Bond-theme', which usually takes place about a month before the film hits the cinemas.  This is pretty huge, as it gives the world it's first insight into the feel and style of the film, as well as suggesting the tone of the story.
There's been rumour that pop-darling and chart fiend Sam Smith is to sing the title song for the next James Bond film, due for release on 26th October 2015. I've heard a fair bit of Smith's tracks, on music channels and on the radio and I'm not really a fan. That being said, I can see him doing the job well, dependent upon the song choice, of course. There's also been suggestion that the theme could come from safe and comfy Ellie Goulding, as well as the interesting and rather unlikely possibility that it could come from Radiohead (making them the first 'band' to have championed a Bond theme since Garbage's 'The World Is Not Enough' in 1999). However, at the time of writing, nothing concrete has been announced.
To be honest, I'll be glad if it's anyone, other than sodding Adele, AGAIN. There was talk after Skyfall of Adele doing Spectre's title song as well, meaning she would be the first artist to perform two 'Bond-themes' consecutively (rivalled only of course by Shirley Bassey, who has performed three signature themes over the 24 film spread. But even she didn't hog the microphone twice in a row). Bottom line, we cannot let this happen. It's just plain wrong!
You see, I take the James Bond theme songs very seriously, as I believe they are symbiotic with the overall film experience. In my opinion, a decent and credible James Bond theme song has the ability to hint at the core story of the film, whilst setting the overall tone.  I also believe the theme needs to have a personality to it, which clearly defines it as a theme song for a James Bond film, rather than 'just-another-song'.  It's also rather interesting if the theme manages to unveil an element of James Bond's character.
I've decided to compile my Top 10 James Bond theme songs, to mark the impending release of Spectre, and also to act as a definitive benchmark, by which the resulting Spectre theme song, and all future Bond theme songs for that matter, will need to be set. My Top Ten can be found on the attached playlist (http://spoti.fi/1IRv4VL).
Fell free to let us know of your own Top 10 list, as it would be interesting to see how you view these unique nuggets in cinematic music.

10) Tomorrow Never Dies - Sheryl Crow (1997)

The theme song for Tomorrow Never Dies is often shunned and somewhat overlooked.  For many, including David Arnold, the composer of the film's score, it was K.D. Lang's 'Surrender' that should have been the 'main theme' for the film. After all, for the refrain of 'Surrender' to feature heavily throughout the film's score, and then only to be left to play the film out over the closing credits does seem to be an odd choice, as well as undermining the track chosen as the 'main theme'.
This being said, I personally feel that Sheryl Crow's 'Tomorrow Never Dies' works well as the title song.  It has a wonderful groove and Crow's slurred vocal phrasing in the chorus really lifts the song up and gives it attitude.
It's also this attitude and demeanour throughout the song that make it stand out.  The song is told from the perspective of an ex-lover who longs to be with the song's subject and for them never to leave.  This is relevant to the film's story, as this sentiment is echoed by Terri Hatcher's character Paris Carver, a distant fling of Bond's, who is now the wife of the film's villain, Elliot Carver.  Paris even states in the film "This job of yours; it's murder on relationships", which is neatly paraphrased in the song "It's no fun/ Martini's, girls and guns/ It's murder on our love affair"  . Crow's vocals really punctuate this sentiment and make what would ordinarily be a slushy love song to be really cool and mature.
The song also works well as a Bond-theme, with it's subtle nods to staple melodic phrases heard in other Bond-theme's, most notably John Barry's original score.  Ok, the overall song doesn't link directly to the main plot of the film, aside from the obvious nod to the fictional newspaper 'Tomorrow' in the story, owned by Carver.  However, I feel that Crow's 'Tomorrow Never Dies' deserves a lot more credit than it gets and earns it's place as a theme song, due to it's confidence and rich sentiment, which links, albeit vaguely, to the films story.

9) The Man With The Golden Gun - Lulu (1974)

The title song 'The Man With The Golden Gun' is often lumped in with the idea that the James Bond films have a 'camp' and suggestive undercurrent to them. Ok, this particular song contains several suggestive lyrics, and certainly plays up to the sexual element to the Bond character, despite actually being about the film's villain, Francisco Scaramanga, "He has a powerful weapon/ He charges a million a shot.....one golden shot means another poor victim has come to a glittering end". But I think its a shame that this song's true credibility is often overlooked, due to the crude nature of the lyrics.
The song, like the film, is fun, bold and is rich with energy, right from the opening bar.  Lulu's impressive vocal range also gives the song a brash and 'sassy' attitude.
However, it also has a lurking presence, created by a potent horn section, which really illustrates the haunting dread that Bond faces, while attempting to investigate and thwart Scaramanga and his golden gun. It is for this reason that I believe that this theme deserves it's place among the more respected Bond themes, as it manages to endorse the story and the characters within, as well as providing an engaging and highly accessible song in the process.

8) The World Is Not Enough - Garbage (1999)

I have very fond memories of this particular song, as The World Is Not Enough was the first James Bond film I saw at the cinema (This, as I'm sure you're aware, is a very important milestone for anyone), and I remember listening to the CD single for weeks afterwards. I'd heard Garbage previously, via my sisters, and instantly enjoyed the song.
Like 'Tomorrow Never Dies' before it, 'The World Is Not Enough' is produced by David Arnold and lurks with an equally sneering attitude, as Shirley Manson croons over a rolling rhythm and sweeping strings.
Another reason why I believe this theme is worthy of mention is due to the seemingly ambiguous message of the lyrics. At first glance, it's not clear who the narrator and subject is.  On the surface, it appears to be a 'love-song', with Manson declaring "The world is not enough/ But it is such a perfect place to start our love", suggesting that the narrator's love for the subject is boundless and transcends the planet.  This would infer that the song's narrator is the film's 'Bond-girl' Christmas Jones, played by Denise Richards. But, there also appears to be an underlying menace to the lyrics, "People like us/ Know how to survive/ There's no point in living if you can't feel alive.......We know when to kiss/ And we know when to kill/ If we can't have it all, then nobody will".  This would then suggest that the narrator of the song is in fact the seductive and ultimately treacherous Elektra King, played by Sophie Marceau, who we learn is in partnership with the film's villain, Renard.  This is also supported by the line "There's no point in living if you can't feel alive"; an adage used by Elektra in the film.
The song's obvious link to the film is in the very name,  The World Is Not Enough, which is James Bond's family motto (first stated in the novel On Her Majesty's Secret Service).  In addition, when holding Bond hostage, Elektra claims "I could have given you the world", implying Elektra's 'infatuation' with Bond. Bond replies, "The world is not enough", which in turn cements his anger and rejection towards Elektra.  This brief exchange is evident throughout the title song, instantly making the theme song hugely significant, and therefore worthy of merit.

7) License To Kill - Gladys Knight (1989)

License To Kill is one of my favourite James Bond films. For one, the story is refreshingly bleak, compared to the preceding films, which really brings out an interesting side to the Bond character.
At the beginning, we see Felix Leiter, Bond's long time alley in the CIA, getting married on the same day he captures a notorious drug baron, Franz Sanchez.  The positivity is quickly destroyed when Sanchez is busted out of incarceration and swiftly tortures Leiter and murders his new bride. Bond then embarks on a journey of vengeance, as a result.
I personally believe that this Timothy Dalton's best James Bond film (out of the 2 he starred in), as he manages to convey Bond's anger, frustration and pain wonderfully, whilst maintaining his suave and cool confidence.
The film's theme song 'License To Kill' works perfectly here, as it's laced with a blend of anger and cool sophistication.  The song strolls along at a brooding pace, while Gladys Knight's velvet vocals seem to anchor the song in the melancholy of the story.  The song also makes a cheeky nod to the familiar sultry trumpet blasts, reminiscent of those in Shirley Bassey's 'Goldfinger'.
The lyrics initially appear to suggest that the narrator plans to use their 'license to kill' to prevent a lover from leaving them.  This image feels rather uncomfortable, when assuming the narrator is in fact James Bond himself, who as we know, has a license to kill.  However, as the song continues, this haunting figure begins to change into a more protective presence with the line "Say that somebody tries to make a move on you/ In the blink of an eye I'll be there to/ And they better know why I'm gonna make them pay/ Till their dying day", which suggests that the narrator intends to reek vengeance on those who attack those important to him.  This therefore links beautifully to the film's story.
One of my favourite moments in the song is the wonderfully powerful 'stepped down' melody at the very end of the song, which culminates in a comfortable resolution with Knight whispering the word 'kill'.  This suggests that things may end up well for Bond, but is presented in a manner that begs to be explored further.

6) On Her Majesty's Secret Service - The John Barry Orchestra (1969)

With it being the only recognised purely instrumental Bond-theme in the entire 23 film cannon, I felt it important to include 'On Her Majesty's Secret Service' in my list.
This up tempo piece by the John Barry Orchestra works perfectly for the style and mood of the film, which was the one and only film starring George Lazenby as James Bond, making the fact that this is the only Bond-theme to not feature vocals, seem almost poetic.
The Louis Armstrong track 'We Have All The Time In The World', which features prominently in the film as the 'love-theme' became a hit off the back of the films release, in turn marking it as the recognised anthem for the film.
However, I believe that this true main-theme is far more integral to the film and the cannon, as it not only encompasses the signature Bond-theme musical traits, such as the descending bass line and bold horn section, but also links to the story of the film.  Bond travels a treacherous journey as he attempts to foil the plans of his arch-nemesis Ernst Stavros Blofeld, illustrated by the brisk rhythm in the verses.  As the story unfolds, it appears that Bond has succeeded in his venture, but the tone is then brought to a sobering and sombre finale, which in turn is punctuated musically by the final chord in the minor key.  The fact that this subtle 'spoiler' is presented to the viewer at the start of the film, albeit sonically, deserves some credit, I feel.

5) From Russia With Love - Matt Monro (1963)

Many of the Bond theme's are sang from the perspective of a third party who is infatuated with, or have had some strong connection (or 'bond', see what I did there?...) with the song and story's subject. With this in mind, it's easy to assume that this is the standard approach to any 'love' themed Bond title track.  This was certainly something I overlooked, until a friend told me that they'd always heard the song 'From Russia With Love'  from the perspective of James Bond himself.
This idea works and links directly with a key moment in the film.  James Bond is required to travel to Istanbul to meet and help a female agent, Tatiana Romanova, who apparently wishes to defect from the Soviet consulate, only to discover that she is in fact bait placed by the organisation, Spectre. Before leaving, Bond is provided with a photograph of Tatiana, which he then gives to M's assistant Miss Moneypenny, upon which he writes the brief message 'From Russia with love'.  He does this as a token of his strong and heavily suggested affection towards Moneypenny, which in turn leads her to watch him walk out of the office, longing for his safe return.
The song 'From Russia With Love' perfectly encapsulates Bond's mentality of this simple gesture of affection. The song's narrator explains how he has learned through his many travels that he longs for the song's subject, but finds it hard to say, "My running around is through/I fly to you/ From Russia with love". Matt Monro's strong and soulful vocal really enhances this emotional revelation and delivers a clear message.  The waltz-like flow to the song also allows this message of one bearing ones soul to come out, and suggests the notion that Bond and Moneypenny are constantly dancing around their feelings for each other.
People often herald Shirley Bassey's 'Goldfinger' as being the first 'essential' Bond theme.  However, I believe that it is the title song for From Russia With Love that stands as a more prominent and powerful theme, as well as actually being a definitive theme song in the cannon, before 1964's 'Goldfinger'.

4) Nobody Does it Better - Carly Simon (1977)

The song 'Nobody Does It Better' is often considered among the most quintessential James Bond themes, despite being the first theme in the cannon to not hold the same title as the film it features in, The Spy Who Loved Me. This is probably due to the fact that the song is more of a love song than a direct theme.
The song is great, as it manages to sum up the relationship between Bond and the female lead in the story, Agent XXX, as well as delivering an instantly warm and cosy sentiment, familiar to anyone.
The song only really connects with the story by way of painting the image of how Agent XXX falls for Bond, against her better judgement, such is the magnetism of James Bond, "Nobody does it better/ Although sometimes I wish someone could.....The way that you hold me/ Whenever you hold me/ There's some kind of magic inside you/ That keeps me from running/ But just keep it coming....". The only other reference to the film is the presence of the film's title The Spy Who Loved Me, sandwiched in the lyrics.
Like 'The Man With The Golden Gun' before it, 'Nobody Does It Better' maintains an element of humour and suggestion in its lyrics, as well as the manner in which it is delivered.  Carly Simon's strong yet breathy vocals gives the comfy piano ballad buckets of personality and makes the entire theme and sentiment more human.
I've always really liked this song, and held the accompanying film The Spy Who Loved Me as one of my personal favourites. However, it's absence of direct association with the story that makes 'Nobody Does It Better' fall short of the top spot on my list.  The song really is great, but I believe it exists better as a stand alone song, rather than a definitive James Bond theme.

3) Moonraker - Shirley Bassey (1979)

Out of the three Shirley Bassey James Bond theme songs, Moonraker is definitely my favourite. When compared to 'Nobody Does It Better' before it, 'Moonraker' is a much more sombre affair. This is interesting, as the film is arguably one of the most elaborate and, dare I say, far-fetched in the entire cannon. The song, on the other hand, is more relaxed and delicate in nature.
The song is very illustrative, in the sense that it genuinely feels like you are on a journey through 'space', or the 'unknown'. This comes across in the long, sweeping string arrangements that float throughout the song, creating a sparse atmosphere.  This is accompanied by a slow calypso style rhythm, which acts as the 'vessel' guiding the listener through the darkness.  This is clearly allegorical to the film of which it is affiliated. Bassey's strong vocals work well with this sound-scape, as they instil conviction and soul amongst the cloudy and wafting surroundings.
Another interesting point with the song is the narrator's agenda and mentality.  The lyrics suggest that the narrator longs for their lover and/or some kind of passion in their lives.  However, the narrator appears to be comparing themselves to the actions of the villain of the story, Hugo Drax, in that they plan to obtain said passion in life, in a manner similar to the Moonraker Space program, which Drax has orchestrated. "Just like the Moonraker goes/ In search of his dream of gold/ I search for love/ For something to have and hold..." With this in mind, it's not overly clear who the narrator could be. Perhaps, a lover of James Bond? But that's not made clear and it doesn't necessarily link to the relationship Bond has in the film with Holly Goodhead.
This aside, the overall message of the song seems to be one of hope and optimism, albeit blind. It promotes motivation and the 'chasing' of one's dreams, but that the 'dreams' are actually fantasies. This in turn makes the song more of a cautionary tale, warning the listener not to fall victim to obsession and megalomania, in the name of love "I've seen your smile/ In a thousand dreams/ Felt your touch/ And it always seems you love me/ You love me....". The ambiguity of this sentiment in this particular song, when linked to this particular film, really makes this song stand out as not only a good Bond theme, but also just a really credible song.
It's also worth mentioning that there is a wonderful disco version of 'Moonraker', which features over the closing credits to the film, which I personally think is equally excellent.  It somehow manages to maintain all the key elements to the song proper, whilst expressing more emotion.  It turns an already vibrant and rich song, into technicolor. It's delicious!

2) You Only Live Twice - Nancy Sinatra (1967)

I'd argue that the majority, if not all of the James Bond themes are recognisable from the opening few bars.  But, there's something about the ascending strings in the opening of 'You Only Live Twice', that screams the class and powerful presence of James Bond. It really captures the stoicism, majesty and power of the character, whilst somehow building anticipation in the story.
The film sees Bond travel to Japan to unravel a plot, whereby an unknown party is attacking Russian and American space shuttles, in order to start a war.
The theme of Japan as the film's setting is prevalent throughout the song, especially in the signature lilting violin and guitar phrase, which is almost as recognisable as the song itself.  This familiarity, along with the gentle rhythm give the song a warmth, which in turn tends to draw you into the film. Nancy Sinatra delivers the vocals with clarity and maturity and really sits well against the swirling mass behind it.  Sinatra punctuates the words, which initially gives it a childlike feel, but then this develops as the sentence continues.  It conjures up an image of effortlessness, elegance and confidence, in an almost cat-like in manner, which again enhances the image of Bond.
The lyrics themselves are steeped in ambiguity.  For a start, the sentiment doesn't seem to be aimed at one particular subject.  It comes across as more of a rhetoric, whereby the narrator is pondering aloud an age old adage and trying to make sense of it.  They seem to be suggesting that the concept of love stands separately from the individual and that it exists more in dreams than in reality. "You only live twice/ Or so it seems/ One life for your self and one for your dreams.." The message given is that one must seize the opportunity to embrace love, before it's too late "This dream is for you/ So pay the price/ Make one dream come true/ You only live twice...".  Ultimately, the narrator's meditation concludes with the point that love is worth fighting, and dying for, and that the individual must make the decision to follow this path, as they have the opportunity, or so it seems.
This sentiment doesn't necessarily link to the story of the film.  However, when considering the story of Ian Fleming's original 1964 novel, whereby M sends Bond on the mission to Japan, in an attempt to help Bond get over the death of his wife Tracy from the previous novel On Her Majesty's Secret Service and in turn help him become himself again, the song seems to become oddly more poignant. In this sense, the song appears to act as a repair kit for James Bond and to remind him, and the listener, that he is only human, yet has the capability to chase his dreams......but only after he has prevented a world war.

1) For Your Eyes Only - Sheena Easton (1981)

'For Your Eyes Only' is my favourite Bond theme for many reasons.  It seamlessly encapsulates everything abut the film, the story and James Bond's character, while being a stunningly good love song.
From the 'whoosh' sound at the very beginning, through the stark opening, the song stands at distinct odds with the glamorous and spacious 'Moonraker' before it.  I believe this to be a conscious decision by the film makers, in an attempt to quite literally bring Bond back down to earth and to a human level, after his escapades in space in Moonraker.
This is also true of the film, which first sees Bond dispose of his old nemesis Blofeld.  With this being the film's opening sequence, as well a number of harsh moments later in the film (including a scene where Bond shoots a villain through the windscreen of their car, before kicking said car off a cliff), the viewer is presented with a rather more bleak outing for Bond.  The song mirrors this theme beautifully, with it's chilling synthesised chords and swirling atmospherics, all played with utmost subtlety and delicacy.  There are stronger instruments involved here, but they are purposely played softer, in order to keep the song unpronounced.  The key 'hook' in the song is a call-and-response style synthesiser phrase, where two descending notes are played and then repeated an octave higher.   The film's plot concerns the search for a missing missile command system called the ATAC, initially housed on an unassuming fishing boat, secretly being manned by M16,  after it becomes apparent that the system is used to command British naval submarines.  This seemingly understated and dismal plot is therefore brought to life wonderfully through the use of the 2 note synthesiser hook, played throughout the song, leaving just the foggy atmospherics and phrase trailing out.
The lyrics don't really link to the film's plot or story, apart from the obvious reference to the message 'For your eyes only' printed on the mission dossier Bond receives.  However, the lyrics themselves do conjure a mixed picture of who exactly is delivering the sentiment, and in turn raise a number of interesting points on James Bonds character.
Lets first assume that the song is being sung from the perspective of Bond's lover in the film, Melina Havelock, who is initially wary of Bond and guards herself from his charms.  Melina ultimately succumbs to her feelings, reveals her naked body to Bond and says 'For your eyes only, darling". With this in mind, the lyrics work perfectly "For your eyes only will see me through the night/ For your eyes only, I never need to hide.....the passions that collide in me/ Wild abandoned side of me/ Only for you/ For your eyes only." This therefore ties in with Melina's mentality towards Bond and strengthens the piece as a credible love song.  Of course, it also acts a comment on how James Bond generally makes women loose themselves when they're with him.
However, another perspective one could explore here is that the song is actually being sung by Bond himself.  Putting aside the female vocals from Sheena Easton, its not unreasonable to assume that the declaration of not wanting to hide from love, or, the idea of wanting to let go and pursue an affair away from the rest of the world, could be a feeling that Bond is harbouring.  This idea can be seen in the lines "For our eyes only/ The night's are never cold/ You really know me/ That's all I need to know" and "For your eyes only/ Only for you/ You'll see what no one else can see/ Now I'm breaking free..", with Bond declaring that he finally feels safe with the subject and can therefore finally be himself.
I appreciate this is quite a bold assumption to make, but then again, this is implied in other Bond themes. Perhaps, many of the Bond theme's are intended to be seen from James Bond's perspective?
I mean, perhaps Bond is getting frustrated with his 'running around' (as Matt Munro put it in 'From Russia With Love'), and wants to continue his 'search for love...for someone to have and hold" (as Shirley Bassey put it in 'Moonraker') and ultimately wants to 'make one dream come true" (as Nancy Sinatra put it in 'You Only Live Twice') and wants assurance that "there'll be no more goodbyes" (as Sheryl Crow put it in 'Tomorrow Never Dies') before he escapes his current life and starts afresh with you, the subject of his affection, after all "nobody does it better"......
On this basis, 'For Your Eyes Only' is clearly the best James Bond theme. The fact that the song sits comfortably as a great, yet delicate love song, whilst raising many key questions on the film, and the character of James Bond himself, earns it a lot of respect.

Nuff said!