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<blockquote data-quote="Mel O&amp;#039;Drama" data-source="post: 312979" data-attributes="member: 23">A View To A Kill was a bit of a landmark for me. While not the first Bond title track I&#039;d have been aware of, it was certainly the first new one to register with me, because of the TOTP element you mentioned. At the time it was the highest-charting Bond song (#2 in the UK; #1 on the American Billboard chart), and it was the first Bond track that kids at school (even the cool ones in years above mine) were buying and singing and enjoying (Live And Let Die was recorded before I was born, so I missed out on the contemporary associations with that one). We played the single a lot, and I still smile when I think of a friend goofing round by dancing into the room doing faux ballet John Barry&#039;s B-side:
[MEDIA=youtube]fsEjQ2F7H6Y[/MEDIA]It&#039;s notable that - unlike Live And Let Die - John Barry was actually <a href="https://web.archive.org/web/19991128095955/http://www.ianfleming.org/mkkbb/magazine/barry2.shtml" target="_blank"> involved in the single.</a> He created the final arrangement.It&#039;s remarkable that Barry was still involved in the franchise at this point.I&#039;ve been listening to this album a fair bit this week:
<img src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.music-bazaar.com%2Falbum-images%2Fvol32%2F1311%2F1311821%2F3181138-big%2FThe-Best-Of-The-EMI-Years-cover.jpg&amp;f=1&amp;nofb=1" alt="" class="fr-fic fr-dii fr-draggable " style="" />

It&#039;s great. Not too Bond-heavy (around 5 Bond tracks, including That Fatal Kiss and Shirley Bassey&#039;s version of Mr Kiss Kiss Bang Bang), but also other film and TV themes, sweeping, haunting instrumental tracks and some Sixties weirdness.</blockquote>

[QUOTE="Mel O'Drama, post: 312979, member: 23"] [I]A View To A Kill[/I] was a bit of a landmark for me. While not the first Bond title track I'd have been aware of, it was certainly the first new one to register with me, because of the TOTP element you mentioned. At the time it was the highest-charting Bond song (#2 in the UK; #1 on the American Billboard chart), and it was the first Bond track that kids at school (even the cool ones in years above mine) were buying and singing and enjoying ([I]Live And Let Die[/I] was recorded before I was born, so I missed out on the contemporary associations with that one). We played the single a lot, and I still smile when I think of a friend goofing round by dancing into the room doing faux ballet John Barry's B-side: [CENTER] [MEDIA=youtube]fsEjQ2F7H6Y[/MEDIA][/CENTER] It's notable that - unlike[I] Live And Let Die[/I] - John Barry was actually [URL='https://web.archive.org/web/19991128095955/http://www.ianfleming.org/mkkbb/magazine/barry2.shtml'] involved in the single.[/URL] He created the final arrangement. It's remarkable that Barry was still involved in the franchise at this point. I've been listening to this album a fair bit this week: [CENTER] [IMG]https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.music-bazaar.com%2Falbum-images%2Fvol32%2F1311%2F1311821%2F3181138-big%2FThe-Best-Of-The-EMI-Years-cover.jpg&f=1&nofb=1[/IMG] [/CENTER] It's great. Not too Bond-heavy (around 5 Bond tracks, including [I]That Fatal Kiss [/I]and Shirley Bassey's version of [I]Mr Kiss Kiss Bang Bang),[/I] but also other film and TV themes, sweeping, haunting instrumental tracks and some Sixties weirdness. [/QUOTE]

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