Now it’s starting to get a little difficult to rank the Bond songs. As I enjoy the bottom 15 pretty intently. Each song from here on out has it’s own strength and lends itself to the Bond canon appropriately. From Rita Coolidge to Matt Monro to Garbage to the odd yet perfect Louis Armstrong contribution. These songs span the most time out of any of the lists. Starting with 1963 and ending in 2012, here is the third instillation of the James Bond movie title tracks.
Skyfall – Adele
This is the first song on the list that pains me to put at such a low number. Coming in a number 14 is Adele’s ‘Skyfall’. This is a tremendous Bond film, possibly Craig’s finest so far. And the song matches it sublimely. If there is an artist that is supposed to do a Bond song it’s Adele. And she delivers in full. It’s sly, smooth feel only enhances what the Bond experience is supposed to feel like. Her voice is moody and dark which is how this particular Bond film is. It’s also one of two Bond songs to top the charts. This song was everywhere. It’s still played often on the radio. I even heard it in a Dick’s recently while picking up running shoes. Deservedly so.
We Have All the Time in the World – Louis Armstrong
It’s really challenging to describe this one. First of all the video below is the original intended opening sequence. Actually, it’s the same video art but Armstrong’s song replaces John Barry’s ‘On Her Majesty’s Secret Service’. Which is debatable as to whether or not it was the right move on Saltzman and Broccoli’s part to make the switch. Yes, John Barry’s brilliant track fits the title sequence more appropriately. But Armstrong’s song fits the movie much better as a whole because of the romantic and tragic element to the film. I’m sure that’s why they kept the song in the movie. At the end of the day I think they should have stuck with Armstrong’s song for the title sequence. Nothing against Barry. Actually, ‘On Her Majesty’s Secret Service’ is my favorite Bond track by him. But this sweet, simple song by Armstrong hits it right in the feels. Which is what the film is intended to do as well. One of the best Bond films in the discography.
All Time High – Rita Coolidge
It’s sort of like a secondary ‘Nobody Does it Better’. Which isn’t a bad thing by any means. This is one of the truly well done, over the top, songs for a title sequence in the Bond films. Let’s face it, while entertaining, ‘Octopussy’ isn’t exactly a down to Earth Bond. So it’s majorly appropriate to have a song such as ‘All Time High’ be its theme. It’s a tremendous sing along melody and the strings modulate beautifully with Rita Coolidge’s voice. There are times when campy is a good element to have. It just has to be done right. It has to be honest. And this film and title track do campy very well. It’s also one of the most recognizable Bond songs as ‘Octopussy’ is one of the most viewed Bonds of all time.
The World Is Not Enough – Garbage
Before Adele nailed it with her natural mood of song writing. Garbage did it with their mood. It makes perfect sense that Garbage do a 90’s Bond title track. Their 90’s alternative/industrial hybrid sound fits the Bond aesthetic. The cool feel of Pierce Brosnan’s Bond films is matched the most convincingly with this title track. It’s not like the band had to get together and say ‘hey, we have to write a Bond song.’ They just wrote another Garbage song when propositioned to do the title track. It’s grand, it’s smooth, it’s sexy and the art mirrors the music to a tee. An excellent bow out song to end an era, as Die Another Day sucked major ass.
From Russia With Love – Matt Monro
This is the first real Bond song besides the James Bond theme and ‘007’. The producers hadn’t really figured out the formula quite yet. As the title sequence only had an instrumental version of the song. They were close though and you can tell where the franchise was headed in terms of opening scene and title sequence. From Russia With Love is also one of the first true action adventure thrillers. An edge of your seat plot from beginning to end with some of the most innovative action choreography ever created. We don’t hear the full title track until the very end after Bond and Tatiana escape near death numerous times. However, it is placed perfectly with the introduction strings romantically enhancing the nature of Venice. Then Monro’s crooning voice enters to take the audience away in gondola ride soothing fashion. A true classic.
Any feelings on these songs. Think they should be higher? Lower? Share your thoughts.
