James Bond Movie Theme Songs - Part 1

I've talked a bit in the past about the music of the James Bond movies. Today I'd like to focus more specifically on the movie theme songs, the pieces that introduce each film as the opening credits roll. I have to say that Bond movies are just as famous for their excellent musical themes as they are for their outrageous stunts and dramatic spy stories. 

Let's begin with the very first Bond film, Dr. No, which presented to the world in 1962 Mr. Sean Connery as the fictional super spy. As I've said elsewhere on the blog, this musical intro is the now-famous James Bond Theme, as created by one Monty Norman. Norman was riled by newcomer John Barry, who stepped in to tweak the music and went on to take credit for it for many years. But Norman won the lawsuits and regained his baby. The James Bond Theme, in one form or another, appeared in every official 007 movie since. And we love it every time.

That distinctive electric guitar riff plays over the quietly throbbing brass section. The full orchestra kicks in, promising us an action-packed movie... then that final guitar "twang". Oh, and here's a fun fact: at the beginning of the song, the guitar starts at 0:07. Really!

From Russia With Love, the second in the spy series, boasts what I feel is among the best of the movie theme songs. The piece we hear over the opening credits is actually an instrumental - and slightly different - version. The vocal version of FRWL, which plays over the end credits, is the one I really rave about. Sung by Matt Munro, this is one of the most memorable Bond songs for me. Munro's strong yet controlled delivery suit the bit perfectly. The European flourishes and lush orchestration set the tone for the international intrigue which is to follow on-screen.

Next up, the most famous Bond movie and theme song of them all, Goldfinger. Over the years, I've grown less fond of this tune. As important as it is in the history of Bond, I feel there are 007 songs far easier on the ears. Shirley Bassey's throaty, brash vocals just seem like overkill for me. Too shout-y for my tastes these days. I prefer smoother, more sensual vocals, whether male or female. 

Then there was Thunderball. The opening trumpet blasts are so Bond that it's crazy. That sound became standard fare in future outings. 60's idol Tom Jones belts out his vocals here, maybe a little cheesy by today's standards, but man, the guy could really sing. And he certainly established himself as a key contributor to the Bond sound. 

You Only Live Twice is at least my second favourite Bond song (after Nobody Does It Better from the film The Spy Who Loved Me). Nancy Sinatra's soft feminine vocals are melodic, occasionally soaring, perfectly complementing the moody orchestral piece. This song evokes a sense of the exotic, the faraway locations where Agent 007 will fight his battles and woo his women. 

As you may or may not have noticed, I'm following the chronological order of the Bond films. I think this will help distinguish the eras of Bond... the 60's Connery years, the 70's and early 80's Moore years, and so on. Something like that. This will allow me to more easily break my discussion of the long history of Bond music into digestible blog instalments.

That cool cat on the horn is young John Barry, before his

illustrious years composing music for the James Bond films

The sixth 007 film, On Her Majesty's Secret Service, was a departure in more than one way: for starters, fans saw a brand new Bond actor, Australian George Lazenby enter the picture. While different, he did offer an exciting new take on the character. He was more charming, more of a ladies' man... and he was far more physical in the action/fight scenes. But the music... well, On Her Majesty's Secret Service took a page from the earlier films' soundtracks and developed brand new, exciting background sounds. The title track/main theme instrumental became perhaps the coolest and best-known (and most re-used) song in the Bond series. So many distinctive and catchy motifs sprinkled throughout the piece... all re-purposed for future Bond music. 

On Her Majesty's Secret Service, the movie, is loaded with great tunes, including We Have All The Time In the World, sung by jazz great Louis Armstrong. Composer John Barry continued his string of hits as he collaborated on this now-famous song. The track appears mid-movie, though, and isn't truly a theme song per se... yet its importance mustn't be diminished. 

Sean Connery returned to the 007 role in Diamonds Are Forever. Not one of the better Bond films, it does boast some exceptional musical accompaniment. And that theme song! Yes, Shirley Bassey is back and she sings in a mode that I not only appreciate, but really like a lot. Maybe age tamed her vocal chords a bit. Not that her performance isn't electric... it's expressive and sultry and builds to impressive crescendos. Just a little more contained. Very appropriate.

I think this would be a logical point to wrap up part one of my examination of the Bond movie themes. We've seen the classic 60's entries and 1971's Diamonds are Forever, Connery's final "official" (for he later played Bond in Never Say Never Again, a non-Eon Productions film) appearance as 007. 

Now strap on your Walther PPK, shake (don't stir) that vodka martini, and settle in for some timeless spy music.