πŸ€‘ RIP Chris Cornell, A Singer Who Voiced James Bond’s Greatest Anthem | IndieWire

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'You Know My Name' (From 'Casino Royale') (Chris Cornell). The first Bond theme since 's Octopussy not to borrow the title of the movie.


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When James Bond returned to the big screen with Daniel Craig in the lead role of Casino Royale in , the new run of movies needed a.


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film "Casino Royale," stands as one of the series' best theme songs. His James Bond Theme Song for 'Casino Royale' Is One of the Best.


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'You Know My Name' (From 'Casino Royale') (Chris Cornell). The first Bond theme since 's Octopussy not to borrow the title of the movie.


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'You Know My Name' (From 'Casino Royale') (Chris Cornell). The first Bond theme since 's Octopussy not to borrow the title of the movie.


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When James Bond returned to the big screen with Daniel Craig in the lead role of Casino Royale in , the new run of movies needed a.


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'You Know My Name' (From 'Casino Royale') (Chris Cornell). The first Bond theme since 's Octopussy not to borrow the title of the movie.


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'You Know My Name' (From 'Casino Royale') (Chris Cornell). The first Bond theme since 's Octopussy not to borrow the title of the movie.


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'You Know My Name' (From 'Casino Royale') (Chris Cornell). The first Bond theme since 's Octopussy not to borrow the title of the movie.


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Not so easy, is it? Plus Created with Sketch.{/INSERTKEYS}{/PARAGRAPH} Its generic squall of chunky guitar riffs conveys none of the Craig era's style and raw pathos. Layering a safe but deliciously brassy melody over a Moog bass line that was a few years ahead of its time, John Barry's reassuring composition helped make the daunting leap from successful series to a bona fide franchise that could exist independent of a single star. In fact, the singer's contribution to the spy series is notable only for how it underscores the fact that most Bond themes β€” notably the ones performed by women β€” are sung from the perspective of a neglected lover, dolled up and desperately waiting by the door for to come home. By the time her voice kicks in, instantly becoming as integral to the franchise as the Walther PPK or Sean Connery's hedge maze of chest hair, John Barry has already gilded the movies with a frivolous sense of danger; silly in the extreme but worth taking seriously. We can't hold it against him that his silky croon now sounds like the stuff of parody, or that Jones and John Barry were forced to rush something out the door after United Artists made a last-minute request that the theme song contain the film's title. When will we meet? This may not be a great song, but it has enough going on under the surface to keep a dozen therapists perpetually summering in the Hamptons. John Barry's jaunty instrumental number is defined by its seductive funk and half-hearted exoticism certain stretches sound like they were excerpted from a muzak cover of Maurice Jarre's Lawrence of Arabia score β€” and just when it sounds like the tune has run out of steam, it segues into the classic Bond theme. Share on Facebook Share on Twitter. Like the master plans of the franchise's many nemeses, the idea here was strong β€” it was in the execution where things went up in flames. Bond theme songs have never exactly been on the vanguard, but seldom have they felt so far behind the times. Of all the odes to Bond's sexual prowess and there were a lot of them , Simon's is the most satisfying. Ironically, producer Harry Saltzman considered the song to be objectionably sexual, presumably blushing at how Bassey's line that diamonds can "Stimulate and tease me" suggested that women were capable of feeling any pleasure that wasn't provided by a man. Not the smuttiest Bond theme ever recorded, the track cut for Bond's adventure feels about as dangerous as a trip to the grocery store or an FM radio-show dedication. The singer wasn't even the voice of Audioslave at this point. Stepping in for a frustrated Johnny Mathis mere weeks before the film was due for release, the chanteuse reminded the world that she was one of the only Earthlings who could croon a nonsense word like "Moonraker" and make it sound downright glorious. As with the other songs written for the Craig-era installments, "Skyfall" eschews the franchise's classic innuendo in favor of bleating emotional abstractions, though some of the words here "Skyfall is where we start…" tease at crucial third act plot details. Cue a wonky synth twinkle with all the grace of a Rickroll, as A-ha swoops in so violently that you can almost hear them locking everyone else out of the recording studio. The verses are wishy-washy, but that chorus is a killer earworm, with Manson's elastic voice pulling the rest of her body into each note by sheer force of will. Nevertheless, the song is catchy in that Duran Duran sort of way, and it became one of the band's biggest hits for good reason. The singer couldn't have known the extent to which her performance would resonate in pop culture, but she holds that final note for so long that it may reverberate with us forever. The most popular Bond theme of all time if you go by YouTube play counts , "Skyfall" was money in the bank from the moment Sony decided to hire Adele. Where to begin with a song that almost every culturally literate person in the Western world has etched into their minds like the lines on their hands? There are no two ways about it: Shirley Bassey is the voice of the Bond themes, and even her weakest contribution ranks among the series' most essential tracks. Allegedly, Duran Duran's bassist drunkenly approaching Bond producer Cubby Broccoli at a party and asking, "When are you going to get someone decent to do one of your theme songs? Arrow Created with Sketch. Calendar Created with Sketch. By those standards, "All Time High" is considered something of a success. Listen, you try taking a mess of typically distressed Bond lyrics "Where are you? Essentially a cover of the Goldfinger theme royalties had to be paid to the writers of the original , the title track from 's License to Kill takes Shirley Bassey's classic and remixes it with the hold music from your favorite cable service provider. The first Bond theme since 's Octopussy not to borrow the title of the movie, and the first one not to appear on its movie's soundtrack , this alt-rock dumpster fire really can't be blamed on Chris Cornell. On the contrary, the singer rails against the impermanence of a good lover, as even those with stamina for miles can't last as long as a good rock on your finger. The first and last performer in the series to have her face superimposed over the opening titles, the "Sugar Walls" singer aims this post-coital country jam for the last row in the theater, holding it together on the strength of her conviction and a killer piano power chord. Less a duet than the sound of two people singing vaguely similar songs at the same time, "Another Way to Die" may not share a title the film to which it's attached you try finding a good rhyme for "Quantum of Solace" , but it was just as disappointing. More recently, the season five finale of Mad Men confirmed what audiences of the time knew right away: This song is a classic. Close the menu. Rolling Stone. There's really only one way to prepare audiences for an action movie involving space lasers, invisible cars, and a henchman with diamonds encrusted into his face: Robo-Madonna. The fault lies with the Sony executive who β€” in the year β€” decided that the dude from Soundgarden was the right voice to introduce the most radically different, forward-thinking James Bond in the character's half-century history. Load Previous. Path Created with Sketch. Co-written by the hit-or-miss Don Black, who had a hand in formative Bond themes like "Thunderball," the last tune before the turn of the millennium roared with more drama than anything in the film to which it was attached. The rising whirl of strings that kicks off this formative Bond theme might just be John Barry's finest moment even if it was lifted from an Alexander Tcherepnin concerto, the decision to use and tweak it here is still a stroke of genius. Fortunately, Gladys Knight goes a long way, and she's given free reign to flex her vibrato with the same indifference to song structure as James Bond has to the architecture of the buildings he blows up. Still, it's hard not to wonder what might have happened if the composer had been granted the permission he sought to write the operatic Gilbert and Sullivan-style jam the film's title so clearly demands. But it's Bassey who deserves the last word β€” and given her lung capacity, it's hard to take it from her. Newswire Powered by. White and Keys' voices fit together like and celibacy, and the track quickly devolves into a screechy high-speed chase of runaway harmonies and staccato horn blasts. You were expecting someone else? Channeling that vintage Bassey sound and flexing it with serious symphonic muscle, this epic tune played no small role in helping make this blockbuster the the first Bond movie to gross more than a billion dollars. And now for something completely different. Bouncing on top of a smooth synth beat, the first Bond theme of the Brosnan era is both a nice throwback to the velvety sound of Shirley Bassey, and also an agreeable capitulation to the tinny production sound of movie scores of the mid-Nineties. That said, Garbage frontwoman Shirley Manson is a perfectly decent substitute for the Icelandic swanstress, and the silky cognac of a song she had to work with is a strong fit for her tone. Tom Jones! Declaring that James Bond needed "to get techno," the Material Girl cut a glitchy, awkward, and hideously auto-tuned chant that allows audiences to experience a degree of the torture that endures in the opening scene. Shape Created with Sketch. You can Google them. Each Bond gets the themes he deserves, from the smooth and impenetrable tunes of the Connery era to the radio-ready offerings from the Daniel Craig years, as muscular and wounded as his iteration of the legendary spy. Playing off of the film's Japanese setting β€” yes, this is the one where fakes his death and comes back to life in yellow face β€” Barry augments a breezily majestic melody with the exotic plink of bamboo xylophones, and Nancy Sinatra's voice trembles around them in style. It's a bit unfair to stack the theme sequence from Bond's second big-screen adventure against all the others, if only because it was sent out into the world before Goldfinger had established that Bond title songs should be kissed with a go-for-broke vocal performance. And then happens. Carly Simon's lust-drunk anthem to a mythic lover β€” which has since appeared in everything from Lost in Translation and Bridget Jones: The Edge of Reason to bridal showers across the world β€” might be a hotel lobby staple if not for the smuttiness of its lyrics. Composer John Barry has even admitted that "It's the one [theme] I hate most. Tight, layered, and suitably sharper than most of the franchise's other opening tracks, Shirley Bassey second crack at a Bond theme is perhaps most notable for being the franchise's least horny song ever. Tina Turner's "Goldeneye" has it all β€” even if that includes a lot of stuff you never really wanted in the first place. Fortunately for them, pretty much every other word in the English language rhymes with "Thunderball. With Spectre looming ominously on the horizon, we look back at more than 50 years of Bond themes, counting down from worst to best. {PARAGRAPH}{INSERTKEYS}No had no precedent to follow, and therefore no need for the bombastic title treatments that would come to define the franchise it opted for a gentle calypso medley. In fact, the lyrical nonsense works to the song's advantage, leaving Adele's booming voice free to launch the tidal wave of sonic pathos that will carry this consequential Bond movie all the way to its grim conclusion. View Complete List. Composer Bill Conti had other plans, however β€” and because the funky, unmistakably Eighties score he wrote for the film demanded a similarly off-brand theme, we got Sheena Easton's shimmering low-key ballad. To help keep your account secure, please log-in again. Credit where it's due: The first eight seconds of "The Living Daylights" are absolutely perfect, a suspenseful gust of flutes delivering on that classic John Barry sound. It's a slinky enough pop jam, but so far removed from the world of MI6 that you're likely to forget what you're watching by the time the movie starts. Take my unfinished life and make it complete" and imbuing them with sense of life or death. Not even Sheryl Crow's best Gwen Stefani impression can save this forgettable cut, which was chosen over offerings from the likes of Pulp and Saint Etienne. A fitting theme song for a Bond movie in which the villain is largely defined by the fact that he has a third nipple, 's "The Man With the Golden Gun" served as perverse proof that was here to stay β€” if this laughable ode to Roger Moore's penis couldn't kill the spy franchise, nothing can. The theme song for Octopussy was always going to have one job and one job only: Distract viewers from the fact that they're about to watch a film called Octopussy.