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Who Does It Better: re-evaluating the Bond songs
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<blockquote data-quote="Willie Oleson" data-source="post: 314562" data-attributes="member: 8"><p>Part III: The Bond Song Countdown - Revisited & Re-evaluated.</p><p></p><p><strong>27. Die Another Day</strong></p><p>I can accept this as a Madonna song derived from/reacting to the movie, but as a song written <em>for</em> the movie there isn't much I can do with it. I'm sure it's made her richer than she already was. </p><p></p><p><strong>26. For Your Eyes Only</strong></p><p>A beastly saccharine ballad that belongs in a beastly saccharine 80s romcom.</p><p></p><p><strong>25. Writing's On The Wall</strong></p><p>Sam Smith can sing whatever he likes and however he likes it, but to be subjected to this style in the presence of a cinema audience would make me feel very uncomfortable.</p><p></p><p><strong>24. Another Way To Die</strong></p><p>Even from my most optimistic point of view this would never be one of the greatest Bond songs but I don't think it was supposed to be one of the worst. It's that checklist of do's and do's and then some more and then it kinda spirals out of control but not in a great exciting way. Even Alicia Keys sounds awful here.</p><p></p><p><strong>23. Tomorrow Never Dies</strong></p><p>The 1990s indie insipidness makes it sound terribly dated and it's simply too forgettable as a movie song, especially a Bond song.</p><p></p><p><strong>22. The Living Daylights</strong></p><p>The only thing I've learned from a-ha's song is that living daylights are o-oh. And all because of one missing word. "Save the darkness, let it never fade away<strong> (into)</strong> the living daylights". John Barry saves whatever there is to save, but it's not much.</p><p></p><p><strong>21. Never Say Never Again</strong></p><p>There's not a lot to love here but it's pretty harmless and therefore it serves as a line between the bad and the good Bond songs.</p><p></p><p><strong>20. No Time To Die</strong></p><p>There's some over-statement going on that prevents me from fully embracing the latest Bond song, however, I think it achieves what it sets out to be or do and it has the most mind-blowing climax of all Bond songs.</p><p></p><p><strong>19. Licence To Kill</strong></p><p>The perfect song for every audience, a Disney Bond as it were.</p><p></p><p><strong>18. Diamonds Are Forever</strong></p><p>Of course I like it but let's be honest here, it's simply too gay for a Bond movie.</p><p></p><p><strong>17. A View To A Kill</strong></p><p>The video definitely helps to keep the song and movie firmly connected but I think it sounds too pop-to-movie crossover (rather than vice versa) to rank it as one of the absolute best Bond songs.</p><p></p><p><strong>16. Thunderball</strong></p><p>He always belts out while others sing. It's a ballsy guilty pleasure for the drunken karaoke dads.</p><p></p><p><strong>15. The World Is Not Enough</strong></p><p>As I said before Shirley Manson has the range to pull it off but since the lyrics are meant to be sung in a very stretched out way it sometimes misses the intensity and (for better or worse) credibility that a more natural crooner or chanteuse could have provided. On the other hand I love for its unique combination and maybe that's exactly the reason why it never sounds dated.</p><p></p><p><strong>14. GoldenEye</strong></p><p><strong></strong></p><p><strong>13. Skyfall</strong></p><p>Adele pumps up the goose bumps with her renaissance Bond banger.</p><p></p><p><strong>12. You Know My Name</strong></p><p>I think there's a great sense of subtelty and irony in this song because it sounds more like a traditional pop rock song and at the same time I could never believe that it <em>wasn't</em> written for a movie even if it wasn't. Was. No, wasn't. Well you know what I mean.</p><p></p><p><strong>11. The Man With The Golden Gun</strong></p><p>The pop novelty amongst Bond songs, as if she's singing about singing a John Barry tune. It would have been perfect for a she-Bond spin off starring Kate O'Mara as the first female 007.</p><p></p><p><strong>10. James Bond Theme </strong></p><p>At the time of Dr. No it wasn't relevant that it would become the overarching theme in a movie franchise that wasn't a movie franchise yet, although I'm not sure how famous it would have been if had been <em>just</em> the Dr. No thing. Nevertheless it's an intriguing and catchy composition and it just seemed perfect to use it as a top 10 closer. </p><p></p><p><strong>9. The Look Of Love</strong></p><p>Perhaps it should be higher up in the list but then again it's usually not ranked at all. #9 is not so bad for a fake Bond movie song, is it.</p><p></p><p><strong>8. Live And Let Die</strong></p><p>No matter how many times I hear it, <em>Live And Let Die</em> keeps surprising me, like a cacophony-done-well.</p><p></p><p><strong>7. Goldfinger</strong></p><p>Yes yes yes it's epic and iconic but it's so strongly anchored in the movie itself that it inevitably surrounds itself with an air of gimmickry. Not in bad way, it's really one of a kind but it will never stop being "that song" and that makes the movie score/pop crossover a bit more challenging.</p><p></p><p><strong>6. We Have All The Time In The World</strong></p><p>It's so very gorgeous and it proves that Bond songs need to exist. It's not optional or anything.</p><p></p><p><strong>5. Moonraker</strong></p><p>The only complaint I have is that is was never covered by Carpenters or Helen Reddy. Moonraker is like...like..like the<em> foreplay</em> of movie scores, and it's not just about the ears anymore. It takes me out of my body, it makes me float and I don't want it to end.</p><p></p><p><strong>4. From Russia With Love</strong></p><p>Granted, the song doesn't do much more than informing the audience "you have been watching..." and yet there's something so perfectly melodramatic in the little that's going on that I can't help but feeling amazed and emotionally overwhelmed. </p><p></p><p><strong>3. Nobody Does It Better</strong></p><p>This is my #1 pop song in the list and the reason why it's not THE #1 is because it sounds a little bit too safe as a movie theme.</p><p></p><p><strong>2. All Time High</strong></p><p>It's a miracle that this song isn't completely "pastelled" by the commercial eighties sax sound although from a different point of view there could be enough in it to hate it.</p><p>What I love the most about All Time High, apart from being a very pretty song, is the brutal lack of optimism even though the song itself hints at better times. It's exactly that kind of indifferent understatement that makes it sound intriguing and it really makes me wonder what this woman is going through. "Hold on tight, let the flight begin" is without conclusion. We don't know if she (or Bond) is going to succeed, we think so, but Rita makes no attempt whatsoever to manipulate us. Admittedly, I would have loved to rank it #8 but unfortunately it's too good.</p><p></p><p><strong>1. You Only Live Twice</strong></p><p>Because I think it has all of the qualities of the previous songs, maybe not in equal measurements but I feel I can justify why it's a better "Moonraker" or a better "Russia" or a better etcetera. I'm not going to do that because I'm tired and completely 00sevened out.</p></blockquote><p></p>
[QUOTE="Willie Oleson, post: 314562, member: 8"] Part III: The Bond Song Countdown - Revisited & Re-evaluated. [B]27. Die Another Day[/B] I can accept this as a Madonna song derived from/reacting to the movie, but as a song written [I]for[/I] the movie there isn't much I can do with it. I'm sure it's made her richer than she already was. [B]26. For Your Eyes Only[/B] A beastly saccharine ballad that belongs in a beastly saccharine 80s romcom. [B]25. Writing's On The Wall[/B] Sam Smith can sing whatever he likes and however he likes it, but to be subjected to this style in the presence of a cinema audience would make me feel very uncomfortable. [B]24. Another Way To Die[/B] Even from my most optimistic point of view this would never be one of the greatest Bond songs but I don't think it was supposed to be one of the worst. It's that checklist of do's and do's and then some more and then it kinda spirals out of control but not in a great exciting way. Even Alicia Keys sounds awful here. [B]23. Tomorrow Never Dies[/B] The 1990s indie insipidness makes it sound terribly dated and it's simply too forgettable as a movie song, especially a Bond song. [B]22. The Living Daylights[/B] The only thing I've learned from a-ha's song is that living daylights are o-oh. And all because of one missing word. "Save the darkness, let it never fade away[B] (into)[/B] the living daylights". John Barry saves whatever there is to save, but it's not much. [B]21. Never Say Never Again[/B] There's not a lot to love here but it's pretty harmless and therefore it serves as a line between the bad and the good Bond songs. [B]20. No Time To Die[/B] There's some over-statement going on that prevents me from fully embracing the latest Bond song, however, I think it achieves what it sets out to be or do and it has the most mind-blowing climax of all Bond songs. [B]19. Licence To Kill[/B] The perfect song for every audience, a Disney Bond as it were. [B]18. Diamonds Are Forever[/B] Of course I like it but let's be honest here, it's simply too gay for a Bond movie. [B]17. A View To A Kill[/B] The video definitely helps to keep the song and movie firmly connected but I think it sounds too pop-to-movie crossover (rather than vice versa) to rank it as one of the absolute best Bond songs. [B]16. Thunderball[/B] He always belts out while others sing. It's a ballsy guilty pleasure for the drunken karaoke dads. [B]15. The World Is Not Enough[/B] As I said before Shirley Manson has the range to pull it off but since the lyrics are meant to be sung in a very stretched out way it sometimes misses the intensity and (for better or worse) credibility that a more natural crooner or chanteuse could have provided. On the other hand I love for its unique combination and maybe that's exactly the reason why it never sounds dated. [B]14. GoldenEye 13. Skyfall[/B] Adele pumps up the goose bumps with her renaissance Bond banger. [B]12. You Know My Name[/B] I think there's a great sense of subtelty and irony in this song because it sounds more like a traditional pop rock song and at the same time I could never believe that it [I]wasn't[/I] written for a movie even if it wasn't. Was. No, wasn't. Well you know what I mean. [B]11. The Man With The Golden Gun[/B] The pop novelty amongst Bond songs, as if she's singing about singing a John Barry tune. It would have been perfect for a she-Bond spin off starring Kate O'Mara as the first female 007. [B]10. James Bond Theme [/B] At the time of Dr. No it wasn't relevant that it would become the overarching theme in a movie franchise that wasn't a movie franchise yet, although I'm not sure how famous it would have been if had been [I]just[/I] the Dr. No thing. Nevertheless it's an intriguing and catchy composition and it just seemed perfect to use it as a top 10 closer. [B]9. The Look Of Love[/B] Perhaps it should be higher up in the list but then again it's usually not ranked at all. #9 is not so bad for a fake Bond movie song, is it. [B]8. Live And Let Die[/B] No matter how many times I hear it, [I]Live And Let Die[/I] keeps surprising me, like a cacophony-done-well. [B]7. Goldfinger[/B] Yes yes yes it's epic and iconic but it's so strongly anchored in the movie itself that it inevitably surrounds itself with an air of gimmickry. Not in bad way, it's really one of a kind but it will never stop being "that song" and that makes the movie score/pop crossover a bit more challenging. [B]6. We Have All The Time In The World[/B] It's so very gorgeous and it proves that Bond songs need to exist. It's not optional or anything. [B]5. Moonraker[/B] The only complaint I have is that is was never covered by Carpenters or Helen Reddy. Moonraker is like...like..like the[I] foreplay[/I] of movie scores, and it's not just about the ears anymore. It takes me out of my body, it makes me float and I don't want it to end. [B]4. From Russia With Love[/B] Granted, the song doesn't do much more than informing the audience "you have been watching..." and yet there's something so perfectly melodramatic in the little that's going on that I can't help but feeling amazed and emotionally overwhelmed. [B]3. Nobody Does It Better[/B] This is my #1 pop song in the list and the reason why it's not THE #1 is because it sounds a little bit too safe as a movie theme. [B]2. All Time High[/B] It's a miracle that this song isn't completely "pastelled" by the commercial eighties sax sound although from a different point of view there could be enough in it to hate it. What I love the most about All Time High, apart from being a very pretty song, is the brutal lack of optimism even though the song itself hints at better times. It's exactly that kind of indifferent understatement that makes it sound intriguing and it really makes me wonder what this woman is going through. "Hold on tight, let the flight begin" is without conclusion. We don't know if she (or Bond) is going to succeed, we think so, but Rita makes no attempt whatsoever to manipulate us. Admittedly, I would have loved to rank it #8 but unfortunately it's too good. [B]1. You Only Live Twice[/B] Because I think it has all of the qualities of the previous songs, maybe not in equal measurements but I feel I can justify why it's a better "Moonraker" or a better "Russia" or a better etcetera. I'm not going to do that because I'm tired and completely 00sevened out. [/QUOTE]
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