Above: Jack White and Alicia Keys do the latest James Bond song, “Another Way To Die.”
By Joel Francis
Duran Duran bass player John Taylor probably had the previous two James Bond themes in mind when he drunkenly approached producer Cubby Broccoli at a party and asked when they were going to get someone “decent” to do a Bond song.
It didn’t take long to learn the answer. Duran Duran’s “A View To A Kill” was a No. 1 hit, re-establishing Paul McCartney’s precedent of letting successful pop acts write and perform title songs hit. While the big synthesizers and processed drums haven’t aged well – few pop songs from the ’80s have – the chorus of “dance into the fire” remains as catchy as ever. The song also marked the last time original Duran Duran’s lineup recorded together for 16 years.
Encouraged by Duran Duran’s success, the Bonds producers handed the reigns to another pop act for 1987’s “The Living Daylights.” After being rejected by the Pet Shop Boys, who wanted to score the entire film, a-ha, the band best known for its 1985 No. 1 hit “Take On Me,” agreed to take on Bond. Sporting similar dated production as Duran Duran’s hit, but weaker songwriting and overly sensitive singing, “The Living Daylights” became another Bond footnote.
The lush orchestration associated with early Bond numbers was back for Gladys Knight’s “License to Kill” in 1989. Composer Michael Kamen did a good job incorporating the “Goldfinger” horn line into the main melody, but the lyrics and melody are bland. It’s a shame that Knight, who has one of the strongest soul voices of all time, wasn’t given stronger material. Bond’s further musical malaise is marked by the presence of Patti LaBelle’s end credits theme, “If You Asked Me To,” which was later covered by Celine Dion. Dion’s appearance marks the nadir of any expedition.
After a six-year hiatus and casting change, Bond returned in 1995’s “Golden Eye.” Written by U2’s Bono and The Edge, “Golden Eye” found the duo continuing in the same vein as their summer hit “Hold Me, Thrill Me, Kiss Me, Kill Me.” The arrangement wraps the duo’s discotheque infatuation around a haunting melody build on a horn line. Tina Turner masterfully teases Bono’s voyeuristic lyrics and was rewarded with a Top 10 hit in Europe. “Goldfinger” was the best Bond song in a generation and helped successfully jumpstart the franchise.
After the powerful, soulful voices of Knight and Tuner, Bond’s producers turned to another American female in 1997 for “Tomorrow Never Dies.” Sheryl Crow brought strong songwriting chops and chart-topping cache, but she lacked the voice to carry her melody. Her vocals fare well during the verses, but the chorus is too high for Crow’s register where her throat lacks the energy to carry the words and emotion. k.d. lang’s “Surrender,” written by the film’s composer David Arnold, fits firmly in the Bond mold of big strings and brassy horns and would have been a better opening number. Unfortunately, it was retitled and pushed to the closing credits once Crow signed on. Finally, pop-techno musician Moby was enlisted to remix Monty Norman’s “James Bond Theme.” The result was a rare update that successfully enhanced and modernized the original.
Arnold successfully married his large orchestration with light techno elements for “The World Is Not Enough.” Garbage singer Shirley Manson slithers through the lyrics with authority and the rest of the band maintains a tasteful balance between rock and orchestral while adding their stamp to the song.
Madonna was easily Bond’s biggest star pull since Paul McCartney when she signed up for “Die Another Day” in 2002. While the film may have been Bond-by-numbers, Madonna blew up the formula for her electronic theme song. Her manipulated vocals hide behind banks of synthesizers and strings and spout the memorable line “Sigmund Freud/analyze this.” Although the song spent 11 weeks at the top spot of the U.S. charts, it is unlike any other theme in the Bond cannon and, as a result, not without controversy. The Material Girl wouldn’t have it any other way.
Bond was rebooted once again in 2006 for “Casino Royale.” As the character became grittier, so did the music. Chris Cornell’s “You Know My Name” is easily the hardest number in the Bond cannon, cut from the same stone as Alice Cooper’s rejected “Man with the Golden Gun” that repulsed producers 30 years ago.
Confirming they were no longer afraid to rock out, White Stripes mastermind Jack White was enlisted to perform “Another Way To Die” for 2008’s “The Quantum of Solace.” Unsurprisingly, White’s song sounds like a heavily orchestrated White Stripes number given an urban twist courtesy of the piano and vocals of Alicia Keys. Stripped of the overproduction that plagues her solo releases, Keys shines under White’s watch. Her call and response with White’s dirty guitar licks halfway through the song channel “What I’d Say” through Jimmy Page’s amplifier. The number is the first Bond theme performed as a duet, but based on the openness Bond’s producers have shown in the past decade, it will likely not be the last.
The Music of James Bond: Part 1 – The Classic Years
2 thoughts on “The Music of James Bond: Part Three – The ’80s and Beyond”
Great article, really opened up the wide range of Bond music for me!!
However, in the Quantum of Solace, I really liked the second song from the closing credits – led by a piano and had no lyrics. I was wondering if you knew the title of it by any chance?
Thanks for reading. I’m sorry, but I don’t know the exact name of the song you mention. According to Wikipedia, Jack White and Alicia Keys were the only pop stars to perform a song for the film. This leads me to believe the piece in question is part of David Arnold’s score. The Quantum of Solace score can be found on iTunes and other online retailers, and includes the majority of the music in the film and likely the number you’re looking for. I hope this helps. Thanks again for reading The Daily Record.