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Spectre 2015 - Movie Banner

Spectre Soundtrack [ 2015 ]

List of songs.

The Name's Bond... James Bond - David Arnold & Michael Price

The Name's Bond... James Bond

David Arnold & Michael Price

Opening scene

Te He de Querer - Los Organilleros

Te He de Querer

Los Organilleros

Briefly heard as Bond and Estrella enter the hotel.

Los Muertos Vivos Estan (feat. Tambuco)

Thomas Newman

Music at the Day of the Dead parade.

Gloria De La Cruz

Bond and Estrella enter the elevator.

Day of the Dead (feat. Tambuco) - Thomas Newman

Day of the Dead (feat. Tambuco)

Bond chases Marco Sciarra through the streets of Mexico.

Writing's On the Wall - Renée Zellweger & Sam Smith

Writing's On the Wall

Renée Zellweger & Sam Smith

Opening credits

Nisi Dominus (Psalm 126), RV 608: 4. "Cum Dederit" (Andante) - Andreas Scholl, Paul Dyer & Australian Brandenburg Orchestra

Nisi Dominus (Psalm 126), RV 608: 4. "Cum Dederit" (Andante)

Andreas Scholl, Paul Dyer & Australian Brandenburg Orchestra

Lucia plays this song after she leaves the funeral.

One Furtive Tear (L'Elisir D'Amore)

Geoff Love & His Orchestra

Plays in Lucia's bedroom as Bond prepares to go on another mission.

New York, New York (FWB Remix) [feat. Ultra Love] - Ray Quinn

New York, New York (FWB Remix) [feat. Ultra Love]

Briefly plays in the car as Bond is looking for the missile switch.

La Traviata: "Libiamo Ne'lieti Calici (Brindisi)

Luciano Pavarotti, National Philharmonic Orchestra, Richard Bonynge, Dame Joan Sutherland & The London Opera Chorus

A man is listening to opera music in the car as Bond tries to move the car from his path.

Virgin Cocktails

Yann McCullough & Paul Chandler

Bond waits at a cocktail bar and orders a martini.

The James Bond Theme - Monty Norman

The James Bond Theme

Monty Norman

End Credits

Call and Response

Bill Bernstein & Tambuco

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Hear Sam Smith’s Elegant James Bond Theme Song for ‘Spectre’

By Marielle Anas

Marielle Anas

Sam Smith ‘s “Writing’s on the Wall,” the theme song for the upcoming James Bond film Spectre , has finally arrived. Smith and Jimmy Napes — the same songwriting team who scooped up the Grammy Award for Song of the Year  with “Stay With Me” — released the 24th official Bond theme early Friday morning.

The sumptuous ballad acts more as a showcase for Smith’s gorgeous falsetto than orchestral soar of past theme songs. “If I risk it all/Could you break my heart?/How do I live?/How do I breathe?/When you’re not here, I’m suffocating,” Smith sings.  

Smith delivers a grand accomplishment by entertaining the romantic danger of the Bond character while staying true to his hallmark simplicity and elegance. His subtle orchestral cheer team is present, but augments his typical heartbroken persona with a confidence rising up to the level of the iconic secret agent.

“I have been dreaming of this moment for a long, long time,” Smith tweeted  after releasing the track. UK dance duo Disclosure tweeted their support  earlier this month by announcing their official production credit on the track. In anticipation of the song’s global release, Smith wrote on Instagram  earlier this week that he was “very scared, very nervous, very excited.”

“I tried to put myself in the shoes of Bond,” Smith told NPR  of the track. “My music is a diary and it’s a recap of my life, and I wanted to bring that kind of honesty. In the lyrics … I wanted a touch of vulnerability from Bond, where you see into his heart a little bit.” The singer and Napes wrote the song in less than 30 minutes, according to NPR, and ended up using Smith’s vocal demo on the final track.

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Rumors started bubbling earlier this summer about possible vocalists for the Spectre theme. Smith told fans in July that he was in the dark about plans for recording a new installment for the legendary series. The singer originally suggested fellow Brit Ellie Goulding for the coveted spot.

But earlier this month, Smith tweeted a black-and-white photo of his hand wearing a ring with the Spectre symbol; a similar ring had appeared in the film’s trailer , fueling massive speculation. Hours later, Smith confirmed the news , calling the song “one of the highlights of my career.

“I am so excited to be a part of this iconic British legacy and join an incredible lineup of some of my biggest musical inspirations,” the singer tweeted. “I hope you all enjoy the song as much as I enjoyed making it.”

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Fellow Brit Adele cleaned up during awards season  in 2012 for the last Bond theme “Skyfall,” leaving high expectations for the In the Lonely Hour singer. Numerous British singers have been chosen to sing the theme since 1962’s Dr. No , but Smith’s contribution will mark only the third male voice from across the pond to set the mood for the international man of mystery. Smith is the first male British solo act to perform a Bond theme since Tom Jones performed “Thunderball” in 1965 for the movie of the same name.

After   select   screenings next month, Spectre  is set for release worldwide on November 6th.

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Track listings, editorial reviews.

For the 24th movie in the James Bond oeuvre, "Spectre," Oscar-winning director Sam Mendes has again enlisted 6-time Grammy winner Thomas Newman (`Skyfall,' `American Beauty') to write a breathtaking original score. The soundtrack will have the added bonus of an instrumental version of the new Bond theme song, "Writing's On The Wall." The "Spectre" theme song will be sung by fellow multiple Grammy-winner Sam Smith, the first time a male has sung the theme song since "Thunderball."

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Language ‏ : ‎ English
  • Product Dimensions ‏ : ‎ 5.59 x 5 x 0.39 inches; 3.32 Ounces
  • Manufacturer ‏ : ‎ Decca
  • Item model number ‏ : ‎ 4759509
  • Original Release Date ‏ : ‎ 2015
  • Date First Available ‏ : ‎ September 18, 2015
  • Label ‏ : ‎ Decca
  • ASIN ‏ : ‎ B015EZU1QS
  • Number of discs ‏ : ‎ 1
  • #1,447 in Movie Soundtracks (CDs & Vinyl)

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Spectre: What makes the perfect Bond song?

(Credit: Sony)

Clemency Burton-Hill's top 5 Bond songs:

  • Nobody Does It Better
  • You Only Live Twice
  • Live and Let Die

Of all the things with which Agent 007 is synonymous – cars and cocktails, gadgets and girls – nothing sums up the James Bond franchise more immediately than its music. While the Bond theme (composed by Monty Norman and arranged by John Barry) is itself a thing of wonder, it’s the title songs that invariably come to define each film, distilling the experience of what lies ahead. No other film franchise has been so powerfully defined by its music.

I don’t think there’s a formula but there are a few things that work – Scott Meslow

“The opening title songs have become truly memorable set pieces and give a real lift to the opening of Bond films,” says Hollywood-based British film composer David Buckley . “Our expectations are for something big, seductive and classy. Monty Norman, John Barry and later David Arnold and Thomas Newman, along with a plethora of legendary singers, have established a musical language that is unmistakably Bond.”

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So, as British artist Sam Smith now talks to us in that language for his theme song to Spectre, Writing’s on the Wall, we ask: what is it that makes a great Bond song? Is there a magic formula? A quick spin through the glories of the back catalogue and it becomes clear that the greatest of them manage to sound somehow classic while simultaneously evoking the contemporary world of the film in question. They relate specifically to their own film, and yet are able to capture in their spirit the whole magnificent history of the franchise. They are theme tunes, and yet could - and do - stand on their own as cracking pop songs.

“I don’t think there’s a formula”, says cultural critic and Bond music aficionado Scott Meslow , “but I think there are a few things that work. You should aim for a measure of timelessness, without being afraid to embrace the musical trends of your era. And you should forge your own trail; trying to replicate what other artists have done has never really worked.” Having recently described the writing of Bond title songs as a “tricky art,” he reminds us, tongue in cheek, that “the best Bond themes tend to appear in the best Bond movies, so if you're going to record a song for 007, try to get it into one of his good movies.”

A cue to a kill

One of the best of all is the very first: Goldfinger, recorded in 1964. The first Bond film, Dr No (1962) featured Norman’s theme but no title song, and the next instalment, From Russia With Love (1963) included Matt Monro singing a theme song over the closing credits. But Goldfinger was the first to put the theme song front and centre. For Meslow, it is the “platonic ideal” of all Bond themes. “From the opening blast of the orchestra, it’s bold and brassy and unforgettable”. Here too is an instance in which artist was perfectly matched to song: where a lesser singer “might be drowned out,” he contends, “Shirley Bassey manages to loom over the instrumentation.”

Loom is one way of putting it. Bassey, who had been put through her paces by John Barry at London's CTS Studios that August, delivers an immense and frankly badass performance, but it was very nearly pulled from the movie because producer Harry Saltzman considered it "the worst song I've ever heard in my life”. And yet it went on to set the gold standard by which all other Bond songs are judged.

In a nice twist, given the sexual politics with which all 007 films are charged, for my money it’s the Bond girls who do it better. From Shirley Bassey to Carly Simon, Nancy Sinatra to Adele - whose jaw-dropping performance of Skyfall helped scoop the Bond franchise its first ever Oscar in 2013 - the most unforgettable Bond tunes are invariably delivered by fabulous, powerful women.

There's a reason that so many people wanted Amy Winehouse to record a Bond theme

“There's clearly some vague, amorphous cultural sense of what makes a good ‘Bond theme’ artist,” Meslow reckons. “Generally [it’s] a female singer who tends toward lush, jazzy throwback tunes and/or torch songs. There's a reason, after all, that so many people wanted Amy Winehouse to record a Bond theme; that Adele was so clearly the perfect choice for Skyfall; and that Lana Del Rey's name keeps coming up as a plausible contender.” But for all the star power of these soloists, he suggests the person who sings the song may be less important than the person who writes it. “It's easy to imagine someone like Adele doing an entire album of 007 covers, and most of them would probably sound amazing. When the 007 franchise started, the song's writer was rarely its singer; today, the person who sings the song is always at least a co-writer. If it were me choosing the next Bond song, I'd focus on the songwriting part first.”

So what of singer-songwriter Sam Smith, the 23-year-old multiple Grammy- and Emmy-winner and first solo British man to record a Bond song since Tom Jones in 1965? “His songs don’t exactly scream ‘James Bond’,” notes Melsow, “but on a pure talent level, he certainly has the voice and the range required to pull it off.”

If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our  Facebook  page or message us on   Twitter .

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All 24 James Bond theme songs ranked from worst to best, based on musical merit

5 October 2022, 18:20

All the James Bond themes definitively ranked on their musical merit

By Daniel Ross

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‘Goldfinger’? ‘Diamonds Are Forever’? ‘Nobody Does It Better’? What’s *the* definitive Bond title theme?

The rich and varied history of James Bond title theme songs has given us – like the movies themselves – triumphs, thrills, disasters and surprises.

But behind the wiggly string arrangements and blaring horns, which Bond song is the best from a purely musical point of view? We give our ten cents...

Read more: No Time To Die soundtrack – what’s the music in the new Bond film?

Madonna - Die Another Day (2002)

To meddle and play with the established musical conventions is something for which Madonna is proudly notorious, and similar tactics have been used ingeniously in the Bond franchise (see Garbage and Duran Duran for details), but with ‘Die Another Day’ Madonna meddled so much that she forgot to write a chorus.

And while no-one should decry an artist for trying something new, to leave out the chorus of a Bond theme song and replace it with robot noises was perhaps a step too far.

titelsong bond spectre

Madonna - Die Another Day (Official Music Video)

A-ha - The Living Daylights (1987)

Gracelessly cavorting through the space opened up for them by Duran Duran, the usually impeccable A-ha really plumbed the depths of nothingness with ‘The Living Daylights’.

Their earnest detachment and straight-faced delivery work beautifully on their non-Bond pop epics, but here sound completely characterless. It’s perhaps no wonder that longtime Bond theme overlord John Barry found working with the band to be a bore: tensions and muted arguments meant that his contributions to the song (there are… some… strings… somewhere…?) are the only recognisably ‘Bond’-sounding remnants of what should probably have been an A-ha B-side.

Read more: Was the James Bond theme actually written by Sibelius? >

titelsong bond spectre

The Living Daylights

Alicia Keys & Jack White - Another Way To Die (2008)

This is definitely the most deeply odd Bond theme ever written and, in a weird way, that also makes it quite admirable, despite the quite vociferous critical reception it was given on release.

Jack White’s songwriting style is governed by the deep rumble of his overdriven guitar, to the point where the interjections of brass and piano seem tacked on rather than integral. This is a rock song dragged to its breaking point by the need to sound ‘a bit Bond-y’ and, like Madonna’s effort before it, a song without a discernible, singalongable chorus.

Alicia Keys’ vocal talents are colossal, but the material is utterly unsuited to her, the result being a very queasy duet that sounds simultaneously underwritten and over-ornamented (there’s a literally a bit where Keys attempts to mimic guitar feedback by going “meh”). Destined to be a Bond footnote, this definitely needed another edit.

titelsong bond spectre

Alicia Keys & Jack White - Another Way To Die [Official Video]

Read more: No Time To Die soundtrack: what’s the music in the new Bond film and when is it released? >

Tom Jones - Thunderball (1965)

With the elastic vocals and reputation as something of a romantic… err… adventurer… Tom Jones should’ve been the perfect choice for executing an iconic Bond theme. But ‘Thunderball’, the third ‘attached’ theme song to a Bond film is strangely inert, especially when considered directly alongside Shirley Bassey’s ‘Goldfinger’.

Jones is an eloquent and effective deliverer of songs which ooze languid sentiment, but John Barry and Don Black’s effort is the first Bond song to sound formulaic. All the angular brass riffs are there, along with the belting vocals, but it’s a curiously joyless effort.

titelsong bond spectre


Sam Smith - Writing’s On The Wall (2015)

It’s the Bond theme that won an Oscar, but it is completely mid-table in terms of its musical merits. Following in the footsteps of Adele’s hugely popular ’Skyfall’, ‘Writing’s On The Wall’ harks back to the classic Bond soundworld and instrumental arsenal of curving, diving strings and angular chord progressions.

Boldly, there is no percussion at all (save for the odd cymbal crescendo), but the flipside of that boldness is just how exposed it leaves Smith’s vocals. The melody is elementary, while the ad libs and improvisations are predictable in shape, both of which contribute to a sense of buttoned-up repression. There is, somewhere in this song, a mushroom cloud of emotion dying to escape, but the composition simply doesn’t allow it to emerge.

titelsong bond spectre

SPECTRE Full Opening Title Sequence - "Writing's on the Wall"

Lulu - The Man With The Golden Gun (1974)

Atonal horns, a little bit of post-McCartney rock rhythm and a squally guitar break in the first 20 seconds - wahey, we’re getting somewhere! And then: Lulu.

Lulu is a fine and capable singer, we are absolutely clear on this (check her vibrato around the 90-second mark here), but she suffers from the same malaise as the Bond franchise itself in the mid-70s, namely that it was starting to feel passé, maybe even a bit silly. As such, Lulu is forced to ham her way through material which, although spirited, is only really an impression of great Bond songs of the previous decade.

titelsong bond spectre

The Man With The Golden Gun Lulu

Rita Coolidge - All Time High (1983)

Ah, the eighties. Not traditionally seen as Bond’s heyday, and certainly not celebrated for its Bond theme songs. But ‘All Time High’ from Octopussy is perfectly serviceable: glossy, slick and well executed, and another example of a Bond theme which doesn’t rely on vocal histrionics to make its impact felt.

Being one of the less spectacular songs on the list does mean it’s been rather forgotten, despite its competency. Coolidge dials it back to almost Karen Carpenter levels of plainness, but John Barry’s arrangement is, unusually, the weakest link: aside from some neat countermelodies to Coolidge’s chorus vocals, one doesn’t get the impression he spent an awfully long time knocking this one together. Also notable for being the only Bond song with a Tim Rice lyric sheet.

titelsong bond spectre

Rita Coolidge - All Time High -- LYRICS

Paul McCartney & Wings - Live and Let Die (1973)

We have to consider Paul McCartney’s attempt at a classic Bond song a relative success for a couple of reasons. Firstly, it’s the first and arguably only time rock music has been successfully weaved into a Bond theme, brass and bluster intact.

Secondly, it has a killer central hook. But it is, and this is a technical assessment, absolutely all over the place: themes jostle for attention and McCartney’s voice, usually a strength in any of his compositions, is at the bottom of the musical pecking order. McCartney, ever the impish pop composer, even shoves in a weird reggae/blues verse halfway through, the effect of which is actually quite annoying rather than inventive. In the immortal words of Alan Partridge, “Stop getting Bond wrong!”

titelsong bond spectre

Live And Let Die (2018 Remaster)

Chris Cornell - You Know My Name (2006)

It had been a long time since an all-out rock artist had attempted a Bond theme, and even then the template of ‘Live And Let Die’ was itself essentially flawed. So when former Soundgarden frontman Chris Cornell was chosen to lend his gravelly but precise vibrato to the theme song for Casino Royale (co-written with David Arnold ) it was a chance to inject Bond with a bit of grunt.

There is a flaw, though, and it’s a very simple one: the song is too slow and too rigid. For a noisy composition, it sounds strangely relaxed, oddly calm throughout. Cornell was a devastating vocalist with the right material, and there are moments here which allow him to open up and hint at the potential of a rock-led Bond theme. Almost quite good.

titelsong bond spectre

Casino Royale - Chris Cornell - You Know My Name

Sheryl Crow - Tomorrow Never Dies (1997)

We’ve hopefully established by now that there are two types of Bond theme song – loud ones with belting vocals, and quiet ones with sensitively wrought vocals. Sheryl Crow falls between these two extremes, aiming for the pout and simplicity of Nancy Sinatra, but also sticking a monster chorus into the mix as well. And it is a good chorus, certainly: the final iteration, which arrives after a surprisingly tender and well-arranged string interlude, rescues it from mediocrity.

titelsong bond spectre

Sheryl Crow - Tomorrow Never Dies

Adele - Skyfall (2012)

A theory for you: by the time ’Skyfall’ came along, there hadn’t been a classic Bond theme for many, many years (since 1995 to be precise). As a result, the sheer relief of hearing a passable Bond theme led listeners to believe that ‘Skyfall’ was a classic. So, let’s attempt to rationalise the song with its constituent parts. There’s a swirling chord progression which barely moves for the entirety of the song (which is a colossal four minutes and forty-six seconds long), the dynamic level barely goes further than mezzo-forte to forte and back again.

Adele, utterly spellbinding vocal talent that she is, basically whispers the whole song. And the subject – what is it about? Skyfall is… a mansion in the film? Who sings a Bond song about a mansion? Or any kind of abode or dwelling? It’s hard for Adele to connect the song with any relatable human emotion, regardless of her demonstrable skills. Thank you for attending this TED talk on why ‘Skyfall’ sounds a bit like a great Bond theme but isn’t a great Bond theme.

titelsong bond spectre

Adele - Skyfall (Lyric Video)

Matt Monro - From Russia With Love (1963)

That immediate wash of strings is pure Bond atmosphere, a perfect encapsulation of the aesthetic, soundworld and grippingly cool style with which the spy was synonymous.

And as the first official singer of what colloquially would become known as ‘the Bond song’, Matt Monro’s is pleasingly workmanlike: all the post-Sinatra cool and heightened drama is present in his performance. But in the grand pantheon of Bond themes, it’s basically one of the ones where the singer sings the title of the film and, therefore, absolutely basic Bond theme territory. Balanced against the rest of the list, it’s a solid mid-table affair with some top arranging in the background.

titelsong bond spectre


Billie Eilish – No Time To Die (2020)

The freshest off the press is Billie Eilish’s contribution to the Bond theme oeuvre, and not a bad contribution it is too.

Read more: A detailed musical analysis of Billie Eilish’s new Bond theme, ‘No Time to Die’ >

History-making in that, at 18, Eilish is the youngest musician to write and record a Bond theme – and she performed it at the Brit Awards 2020 with legendary composer Hans Zimmer.

It stands up to the greats in terms of melody (plenty of Bond motifs in there), harmony (fragile and beautiful chord crunches we’ve come to know and love from Eilish and her producer brother, Finneas O’Connell) and orchestration (hello, jangly Bond piano high notes and sweeping chorus strings).

All-in-all it’s lonely rather than lavish, and for us sits pretty much right in the middle of a ranking of all the Bond title themes in history.

Louis Armstrong - We Have All The Time in the World (1969)

The first Bond song NOT to have the same title as the film itself, Hal David and John Barry’s shuffling arrangement seems to have in Louis Armstrong a somewhat incongruous vocal star, but in a similar fashion to Nancy Sinatra before him, it is the plainness of delivery which makes it a success. That arrangement is decidedly more ‘pop’ than previous efforts and perhaps demonstrates Barry’s desire to expand the definition of what a Bond theme song could be, it benefits from its distance from the plot and title of the film. George Lazenby’s underrated James Bond was a more emotional character than audiences had seen before, and the song reflected this quite perfectly.

titelsong bond spectre

Louis Armstrong - We Have All The Time in The World - 007 At Her Majesty' Secret Service (Lyrics)

Shirley Bassey - Moonraker (1979)

As a Bond movie, Moonraker itself occupies a strange place in the canon: indebted to the late-70s vogue for science fiction and space movies, but still very definitely a Roger Moore vehicle for ridiculous double entendres and bonkers stunts. As such, the title song has been somewhat brushed aside, some would argue unfairly.

Bringing back Shirley Bassey for the third time is perhaps lazy, but still, if you were to rely on any one singer to deliver your latest Bond theme then you’d pick Shirley. Strange, then, that John Barry’s song is markedly quieter than their previous collaborations. His shimmering strings bubble beneath the surface, and Bassey’s voice is only given limited opportunities to open up, lending the whole piece a charged and difficult air. Confusing, but in a nice way?

titelsong bond spectre

Moonraker - Shirley Bassey

Duran Duran - A View To A Kill (1985)

‘A View To A Kill’ marks a change not only in the fortunes of Bond theme songs but also the manner in which they were executed. Although John Barry remained deeply involved in the song, it is very much a Duran Duran composition through and through: Barry’s contributions, the signature stabs of brass, are used like ornaments rather than essential functions of the song (the band were in charge of the major songwriting elements, chord progressions etc), which is brazenly effective.

The result redefined what it meant to record a Bond theme: pop artists would now flock to the franchise, seeking to leave their own distinctive mark, rather than the franchise drafting yet another vocalist to interpret the material.

titelsong bond spectre

Duran Duran - A view to a Kill

Read more: the biggest songs in West Side Story, RANKED from worst to best >

Garbage - The World Is Not Enough (1999)

Garbage were renowned for their technical production wizardry when it came to their own material, so it’s perhaps surprising that this collaboration with composer David Arnold and lyricist Don Black sounds slightly dated barely 20 years after it was released. But the jamming together of Garbage’s signature postmodern sound with the more classical Bond musical elements ultimately doesn’t matter: Shirley Manson’s vocals are characterfully languid and coolly dramatic, the song well-crafted enough to survive the musical baubles that clutter its production. We demand a stripped-back strings-and-vocals-only version.

titelsong bond spectre

Garbage "The World Is Not Enough"

Gladys Knight - License To Kill (1989)

Mixed experiments with getting 80s pop bands to record Bond themes inspired the franchise to take refuge in the safety of its core musical elements: big brass, angular motifs, lush strings and a belting vocalist. Gladys Knight (sans Pips and wearing a tuxedo in the music video) is easily equal to the task, but there was something missing - John Barry was no longer musically involved with Bond, but the very heavy quote of his ‘Goldfinger’ musical motif at the outset here meant that his sound was never far away.

titelsong bond spectre


Sheena Easton - For Your Eyes Only (1981)

Bill Conti and Mick Leeson were responsible for the first Bond theme song of the 1980s and, like so much of the pop culture in that decade, it’s ripe for reappraisal. Sheena Easton’s voice is plain but striking, and the song’s introduction is an almost direct inversion of Bassey’s two-note ‘Diamonds Are Forever’ motif, a cheeky but necessary acknowledgment of what had come before. There’s also a wonderful chorus fake-out, a rejection of the more anthemic Bond songs of years gone by - specifically that word “only”, and how it sits on a deliciously uncertain chord, is the essence of the song.

titelsong bond spectre

For Your Eyes Only

Shirley Bassey - Goldfinger (1964)

Iconic. Bold. Blaring. Also… sensitive? Shirley Bassey’s pipes are at their absolute zenith here, and with only the second proper Bond theme the die was cast. Gert Fröbe played the role of Goldfinger, but ignore that: Bassey is Goldfinger. Or, as she puts it in her endlessly imitable style, ‘Gold-finguh!’

Behind the bluster and brilliance of Bassey’s delivery is Lesley Bricusse and Anthony Newley’s divine extrapolation of the core Bond themes, but it’s Bassey’s show through and through. Give her a handgun and send her to Miami: she’s more Bond than Connery.

titelsong bond spectre

Goldfinger Theme Song - James Bond

Carly Simon - Nobody Does It Better (1977)

Yet more evidence that the best Bond themes come from the most sensitive singers, not just the big-voiced belters. Carly Simon is not known for her Bassey-esque vocal prowess, but the storytelling in ‘Nobody Does It Better’ is nuanced, poised and, coupled with Marvin Hamlisch’s iconic piano tinkling, a surprisingly delicate experience.

Her mellow contralto is perhaps better disposed to a Bond theme because of its natural fullness and its narrative qualities, making this a golden-age Bond classic. Very strong.

titelsong bond spectre

Carly Simon Nobody Does It Better HD + HQ

Tina Turner - GoldenEye (1995)

Musically, ‘GoldenEye’ is one of the franchise’s high watermarks. Every element is precise, tense, lean and efficient. It’s surprising to note that the songwriters were in fact Bono and The Edge from U2, more traditionally known for their stadium rock bombast, but with this perfect reconstruction of the Bond song template (check out the rising/falling semitone strings in the second verse) they managed to create a foundation for one of the best Bond vocals on record.

Tina Turner is more hushed than Shirley Bassey, but also far wilder in her performance. The vocal slides in the final chorus are so recklessly daring, with such little care for their effect on the song, it’s as if Turner was herself taking lessons from Bond – dangerous methods often get the most entertaining results.

titelsong bond spectre

Tina Turner - Golden Eye (HD)

Nancy Sinatra - You Only Live Twice (1967)

Proving that the key to a successful Bond song is sensitivity over bluster, ‘You Only Live Twice’ is absolutely up there as one of the best. Delicious, winding string melodies are the counterpoint to Nancy Sinatra’s rather un-showy vocal display, marking her out in particular as a unique figure in the series.

Rather than aiming for the powerhouse deliveries of Tom Jones and Shirley Bassey before her, Sinatra uses an unaffected tone to her advantage, a cool and detached new vocal colour in the Bond arsenal which was rarely bettered. The arrangement beneath it too is gentle, graceful and nuanced, with barely a hint of the brassy excess for which the franchise was becoming known.

titelsong bond spectre

You Only Live Twice

Shirley Bassey - Diamonds are Forever (1971)

There is an utterly ingenious restraint to every aspect of John Barry’s song for the movie of the same name, the second to feature the powerhouse pipes of Shirley Bassey, but it’s Bassey herself who pulls off the biggest coup here.

Rarely have two notes and one phrase become more emblematic, more iconic than her delivery of the title, but there’s so much more than that: the restraint she shows in the song’s early section, gradually allowing it to open up when she gets to “I don’t need love…”, it’s a masterclass in sensitivity, proving beyond a doubt that the key to a great Bond theme is knowing when to go big and when to stay quiet. Shirley, John, we salute your restraint.

titelsong bond spectre

Diamonds Are Forever

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Sam Smith singt für „Spectre“ : Der zweitschlechteste 007-Titelsong der Neuzeit

  • Von Julia Bähr
  • - Aktualisiert am 25.09.2015 - 15:47

Sieht fröhlicher aus, als er klingt: Sam Smith bei einem Konzert in Berlin Bild: dpa

Der Titelsong für den neuen James-Bond-Film „Spectre“ ist veröffentlicht. Der britische Sänger Sam Smith wirft sich voll ins Drama – aber er ist nicht die beste Besetzung für diese Komposition.

V ielleicht hätte man ahnen müssen, dass Sam Smith nicht der beste Interpret für einen 007-Titelsong ist. Schließlich war sein bisher einziges Album „In the Lonely Hour“ eine ausufernde Variation des Themas Liebeskummer. Die Single „Stay With Me“ wurde mit Grammys gekrönt, ist der breiten Masse aber vor allem aus dem nächtlichen Schmusebrei des Formatradios sowie von Kuppelsendungen auf RTL bekannt. Zu diesem Lied laufen dort immer Menschen in Zeitlupe an Provinzbahnhöfen aufeinander zu. Und auch der Bond-Titelsong, so viel ist sicher, wird bald in diesem Kontext zu hören sein.

Denn „Writing's On The Wall“ birst fast vor weinerlichem Pathos. Fast möchte man meinen, „Spectre“ folge einem Drehbuch von Nicholas Sparks. Wir hören das übliche streichergeschwellte Orchester, ehe der unglückliche Minnesänger einsetzt – soweit absolut genretypisch. Doch während die meisten Bond-Songs irgendwann aus der Zartheit in Temperament mündeten, bleibt es diesmal beim Herumgeweine. Höhepunkt ist ein ausgiebiger Ausflug in falsettartigen Gesang.

Man muss sich fragen, warum die Produzenten den Song bei dieser Notierung nicht gleich von einer Frau singen ließen. Allerdings durften in den letzten Jahren ohnehin so selten Männer ran: Von den sieben Bond-Filmen seit der Neuauflage „GoldenEye“ kamen sechs nicht ohne eine Frauenstimme aus.

Der schlechteste Bond-Titelsong der Neuzeit, wie Kritiker bereits behaupteten, ist „Writing's On The Wall“ jedoch nicht. Diese zweifelhafte Ehre gebührt Madonna für ihr auf hohem Energielevel dahinplätscherndes „Die Another Day“ . Einen der besten hat ausgerechnet Sam Smiths großes Vorbild Adele 2012 mit „Skyfall“ abgeliefert, und selbst Überraschungskandidaten wie Garbage und Chris Cornell brachten große Lieder zustande. Sam Smith ist nun auf einem, nun ja, immerhin recht stabilen vorletzten Platz. Und vielleicht gibt es in „Spectre“ ja auch eine Begrüßungsszene in Zeitlupe. Das würde vieles erklären.

Quelle: FAZ.NET

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Sam Smith singt für „Spectre“: Der zweitschlechteste 007-Titelsong der Neuzeit

Sam Smith singt für „Spectre“

Der zweitschlechteste 007-Titelsong der Neuzeit

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Soundtrack: James Bond 007 – Spectre

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Originaltitel: Spectre

Der neue Leiter des Centre for National Security Max Denbigh (Andrew Scott) ist mit der Arbeit des Geheimdienstes MI6 nicht mehr zufrieden. Auch an James Bond (Daniel Craig) zweifelt Denbigh. Bond ist derweil auf einer nicht genehmigten Solo-Mission in Mexiko City unterwegs. Mit Hilfe von Lucia Sciarra (Monica Bellucci), die Witwe eines berühmten Kriminellen, will 007 die Geheimorganisation namens „Spectre“ zerstören. Auch zu seiner Seite stehen Moneypenny (Naomie Harris) und der Technikexperten Q (Ben Wishaw). Gemeinsam wollen sie den mysteriösen Mann (Christoph Waltz) aufspüren, der an der Spitze von Spectre steht…

Hinweis:   Nachfolgend eine komplette Tracklist aller 11 Songs, die in dem Actionfilm „James Bond 007 – Spectre“ zu hören sind. Einige dieser kommerziellen Songs sind nicht auf dem offiziellen Soundtrack-Album zu finden, werden aber im Film verwendet.

James Bond Soundtrack | Musik | James Bond: Spectre


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Weitere Musik von James Bond Soundtrack


James Bond: Spectre

The James Bond Film That Is Secretly a Christmas Movie

This Bond movie's message about humanity isn’t necessarily uplifting, but it’s an important one to remember during the holiday season.

The Big Picture

  • Younger viewers associate Daniel Craig's James Bond with darker attributes, while older viewers see Roger Moore's Bond as goofier.
  • George Lazenby's version of Bond was among the best because he brought a human, empathetic quality to the character.
  • On Her Majesty's Secret Service is a great Christmas movie, as it has endearing and emotional elements similar to It's A Wonderful Life .

A movie fan’s favorite James Bond actor is a very personal decision that is largely dependent upon when they grew up with the character. It’s very easy to associate Ian Fleming ’s 007 with the version of the character that you were introduced to first. Younger viewers who grew up with Daniel Craig ’s Bond may associate the character with his darker attributes, while older viewers who were introduced to Bond through Roger Moore ’s films might think of him as a slightly goofier character . While every actor who has played 007 has their fans, the cheering section for George Lazenby ’s version of Bond may not be very significant. Lazenby only got one chance to play Bond, but his screen debut in On Her Majesty’s Secret Service was certainly a memorable one. On Her Majesty’s Secret Service isn’t just one of the best Bond films ever made; it’s also a surprisingly great Christmas movie.

On Her Majesty's Secret Service

James Bond woos a mob boss' daughter and goes undercover to uncover the true reason for Ernst Stavro Blofeld's allergy research in the Swiss Alps involving beautiful women from around the world.

What Is 'On Her Majesty’s Secret Service' About?

After five appearances as Bond in the early EON productions, Sean Connery decided to temporarily retire from the role after his appearance in 1967’s You Only Live Twice . The film marked the completion of the character arc that had been initiated with Dr. No . You Only Live Twice served as a final battle between Bond and the agents of SPECTRE, and while it left the door open for future Bond adventures, it served as a graceful way for Connery to exit the series. The search for a new Bond would begin, but EON didn’t necessarily find an actor as big as Connery. George Lazenby was an unknown Australian actor with no previous screen credits. While Lazenby lacked the inherent charisma that had made Connery so endearing, this was why his version of Bond was among the best . Lazenby brought a human, empathetic quality to a character that had previously been impenetrable on an emotional level.

On Her Majesty’s Secret Service follows Bond’s investigation into a new evil plan hatched by the evil SPECTRE head Ernst Blofeld ( Telly Savalas ), who had previously appeared in You Only Live Twice . Blofeld has established a secret mansion within the Swiss Alps, where he plans to release a toxic chemical that will deteriorate the world’s supply of livestock and plants. Threatening to release the toxin would essentially give Blofeld the ability to hold the world as his hostage, and Bond’s goal is to assassinate him. However, Bond encounters a few things that he didn’t expect upon his arrival in the winter citadel. The first is that Blofeld has recruited several young women to serve as his brainwashed “angels of death.” These enigmatic young women appear to be impervious to Blofeld’s chemical toxins. The second is his new ally, Contessa Teresa di Vicenzo ( Diana Rigg ), a.k.a. Tracy, whom he had encountered on a previous mission. Although Bond had some romantic flings in his past , Tracy is the first woman that he thinks he could potentially spend the rest of his life with.

Why 'On Her Majesty’s Secret Service' Is a Christmas Movie

“Endearing” and “emotional” aren’t generally words that are associated with the Bond franchise . Bond is generally a suave, collected character who doesn’t have any issue completing his missions on his own. There’s something superficial about Bond’s abilities that make him cool, but Lazenby’s version of the character was far more personable . He’s a version of Bond that is vulnerable, willing to admit his mistakes, and susceptible to human emotions. Lazenby’s version of Bond feels like a more relatable character , and in On Her Majesty’s Secret Service , he learns a few lessons about the lifestyle that he has committed himself to. It makes the entire film feel like an extended holiday adventure where Bond gets a healthy dosage of the Christmas spirit; like It’s a Wonderful Life ’ s George Bailey ( James Stewart ) , Bond learns that the thing he desires most has been sitting in front of him the entire time.

On Her Majesty’s Secret Service shows how Bond opens himself to empathy after his experiences with the “angels.” Similar to how angels in Christmas stories teach characters to be more kind or generous, Bond learns about the human collateral that is left behind after his missions. Even if On Her Majesty’s Secret Service exists somewhat outside of the core series timeline , this is still a version of Bond that has been on more than a few adventures, and left wreckage behind him. After seeing how the angels have been tortured by Blofeld, Bond realizes that he’s fighting for more than just his reputation. His mission is of critical importance to many people who rely upon his bravery. If the Angels themselves didn’t seem “Christmas-y” enough, the winter decorations and ornate design of Blofeld’s mansion certainly doesn’t hurt!

The Best Christmas Movies on HBO Max

On Her Majesty’s Secret Service keeps the Christmas spirit alive during one of the franchise’s best action sequences . After Bond and Tracy make a narrow escape from Blofeld’s henchmen, the pair ski down the Swiss Alps mountains. While initially this is just a kinetic action sequence where Bond is once again fighting with bad guys, the scene turns more ethereal when the ski track makes way to a beautiful winter village. Bond and Tracy venture through the charming village of Lauterbrunnen, realizing that their love for each other is more important than any single mission could ever be. Although Bond has pledged his loyalty to England, he sets aside his service to the crown and proposes to Tracy. It all feels like an extended excerpt from a Christmas romantic comedy , and not befitting of the Bond franchise at all. It’s as if the holidays have taught Bond to be a more caring, sensitive, and festive character moving forward.

Sadly, Bond’s newfound Christmas spirit doesn’t last all that long. Shortly after he and Tracy are wed, Bond’s new bride is gunned down by enemy fire. Bond may have learned the value of human life as a result of his Christmas adventure, but it came with a cost; the girl he had once thought he could spend a lifetime loving has now been taken away from him. It’s a tragic ending, but it doesn’t end with Bond turning into a scrooge . Now privy to human emotion, he starts breaking down and crying. On Her Majesty’s Secret Service ’s message about humanity isn’t necessarily uplifting, but it’s an important one to remember during the holiday season.

On Her Majesty's Secret Service is available to stream on Max in the U.S.

Watch on Max


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