Paul McCartney and Wings, 'Live and Let Die' (1973) | The Top 10 James Bond Theme Songs | Rolling Stone The Top 10 James Bond Theme Songs Watch Mariah Carey, Adele, Lady Gaga Sing 'All I Want... The Top 10 James Bond Theme Songs With the arrival of Adele's new Bond theme, we look back at the best songs from the franchise 10 All Stories 1. Paul McCartney and Wings, 'Live and Let Die' (1973) Paul McCartney reunited with Beatles producer George Martin to record the title song for Live and Let Die, and wound up scoring one of his biggest post-Fab smashes. He's played the bombastic rock tune at practically all of his concerts over the past 40 years – often with pyrotechnic explosions during the climatic moments. Guns N' Roses gave the song a second life when they released their own even more over-the-top cover in 1991.

007 Live and Let Die Opening Title Sequence - Paul McCartney - 1973 - Full Video Song 1080p HD - YouTube 007 Live and Let Die Opening Title Sequence - Paul McCartney - 1973 - Full Video Song 1080p HD Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Nov 20, 2012 007 Live and Let Die Opening Title Sequence - Paul McCartney - 1973 - Full Video Song 1080p HD James Bond 007 Live and Let Die performed by Paul McCartney and Wings Starring: Roger Moore, Yaphet Kotto, Jane Seymour, David Hedison and Bernard Lee Directed By John Glen Producer By Albert R.

Broccoli Composer: Bill Conti Lead Singer: Paul McCartney and Wings Category Live And Let Die James Bond movie from 1973 Pimp Mobile :A white 1973 Cadillac ( New York license plate # 347 NDG) s actually a Chevrolet Corvette fitted with the fiberglass molding of a Cadillac Eldorado - the vehicle was marketed as the "Corvorado" by Dunham Coach of Boonton, New Jersey. Other Dunham conversions featured in the film included a Cadillac Fleetwood and Eldorado (seen parked in front of the Fillet of Soul restaurant). Les Dunham stated that he kept possession of the Corvorado after the film was completed; it has been modified several times for appearances in other films and/or car shows. He claimed that the car was used in the film "Superfly" (1972). The license plate of the white "Pimp Mobile" was 347-NDG. The address on the registration of the vehicle was 33 E. 65th St., New York, NY 10021. All cars were made by General Motors except for the van a car slams into which was a early '60s Ford Econoline Van.

Bleeker Scool Cessna Glastron GT150 1972 boats were used in filming of James Bondï¿½s ï¿½Live and Let Dieï¿½ 1973 and came direct from Glastron in Austin, Texas. Double-Decker Buss old style English double decker James Bond Movie Live And Let Die 1973 A trip to the Jamaica Swamp Safari Village in Falmouth, Located in a natural mangrove habitat, Jamaica Swamp Safari is home to over 30 of the endangered American Crocodile, the also endangered Jamaican Boa Constrictor (Yellow Snake), and the once thought extinct Jamaican Coney. ﻿ Albert is one of the oldest crocodile in Dr. Kananga's farm. In the past he bitten off Tee Hee's arm which replaced by a metal. When Bond escaped to the little island, he opened the gate and the aligators and crocodiles escaped frm the farm. His fate is unknown.

Albert is a crocodile who appears in Live and Let Die Dawes Played by: Unknown Description: The first of three victims during the pre-title sequence, Dawes is the British UN advisor who is killed by a high frequency sound penetrating his brain. Kananga/Mr. Big Played by: Yaphett Kotto Description: Kananga is the sinister foreign minister of San Monique. While he poses as a mild-mannered third world diplomat, Kananga is actually a megalomaniacal drug smuggler who is about to corner the North American heroin market. Solitaire Played by: Jane Seymour Description: The mystical mistress of tarot cards and Kananga, Solitaire has the supernatural power of the obeah-the 'second sight.' After being tricked by Bond, Solitaire loses her power, falls in love with Bond and eventually helps him destroy Kananga and his drug empire. Hamilton Played by: Robert Dix Description: Hamilton is a British agent on loan to the CIA who is assassinated in New Orleans during the pre-title sequence. Hamilton's Killer Description: This man stabs Hamilton in New Orleans during the Jazz Funeral.

Baines Played by: Dennis Edwards Description: The final pre-title victim, Baines is killed by a snake bite on Kananga's island of San Monique. He and Bond shared the same bootmaker. James Bond Played by: Roger Moore Description: With more tounge-in-cheek innuendos and a less gritty portrayal, Live and Let Die introduces Roger Moore as the new James Bond, a role he takes in stride. The movie, as are many of Moore's films, lacks a certain edge that the Connery Bonds had. Still, Moore makes the character his own: a secret agent more likely to crack a one-liner than kill someone in cold blood. Miss Caruso Played by: Madeline Smith Description: A lovely Italian Secret Service agent, Miss Caruso is the buxom brunette hiding in James Bond's closet when M and Moneypenny pay 007 an early morning visit with mission instructions. M Played by: Bernard Lee Description: M pays Bond an early morning visit to 007's flat to give him his instructions.

Not aware of modern technology, M is amazed at the elaborate coffee machine and asks Bond, "is that all it does?' Miss Moneypenny Played by: Lois Maxwell Description: Moneypenny follows M to Bond's flat and sees Miss Caruso sneaking out of Bond's bedroom to hide in the closet. She helps Bond hide Caruso when M goes to get his jacket and, before she leaves, Moneypenny jokes to Bond, "Caio bella." Bond's Driver Played by: Unknown Description: This man falls victim to Whisper's white pimpmobile when driving Bond around New York City. He is shot in the neck with a deadly dart and crashes the car he is driving. Whisper Paul McCartney and Wings - The music of James Bond - Pictures - CBS News The music of James Bond Next Shirley Bassey Welsh singer Shirley Bassey has sung the most Bond theme songs, beginning with "Goldfinger," a pop hit in 1964. She also sang "Diamonds Are Forever" (1971) and "Moonraker" (1979).

Photo: Singer Dame Shirley Bassey performs on stage during the Diamond Jubilee concert at Buckingham Palace on June 4, 2012, in London. Credit: Dan Kitwood/Getty Images Tom Jones Tom Jones sang the theme for "Thunderball" in 1965, the same year he burst onto the music scene with his signature hit, "It's Not Unusual," and won a Grammy as best new artist. He was knighted by Queen Elizabeth II on March 29, 2006. Photo: Tom Jones performs on the Virgin Media Stage during the V Festival at Hylands Park on Aug. 19, 2012, in Chelmsford, England. Credit: Samir Hussein/Getty Images Nancy Sinatra Sixties pop icon Nancy Sinatra sang the theme for the 1967 film "You Only Live Twice." Photo: Actress/singer Nancy Sinatra arrives at the 12th Annual Costume Designers Guild Awards at The Beverly Hilton hotel on Feb. 25, 2010, in Beverly Hills, Calif.

Credit: Jason Merritt/Getty Images Paul McCartney and Wings Paul McCartney had a Top 10 hit with the theme song for "Live and Let Die" (1973). Photo: Paul McCartney performs at the 54th Annual Grammy Awards on Feb. 12, 2012, in Los Angeles. Credit: Getty Lulu Scottish singer, actress, and television personality Lulu performed the title theme for "The Man with the Golden Gun" (1974). Photo: Lulu arrives at the "Strictly Come Dancing" press launch at BBC Television Center on Sept. 7, 2011, in London. Credit: Chris Jackson/Getty Images Carly Simon Carly Simon had a huge hit with the Marvin Hamlisch-penned "Nobody Does It Better" for the 1977 film "The Spy Who Loved Me." It was the first Bond song that had a different title than the movie, but the words "the spy who loved me" are in the song's lyrics. Photo: Carly Simon attends the "You're So Vain" after-party during the 2010 Tribeca Film Festival at 1 Oak on April 29, 2010, in New York.

Credit: Joe Corrigan/Getty Images Sheena Easton Sheena Easton sang the Oscar-nominated title song for "For Your Eyes Only" (1981). The Scottish-born singer is the only Bond artist to be seen singing the title song during the opening credits. Photo: Sheena Easton performs at the grand opening of the Chaum Center on Oct. 27, 2010, in Seoul, South Korea. Credit: Chris Weeks/Getty Images Duran Duran Duran Duran had a No. 1 hit with the title song for "A View to a Kill" (1985). It remains the only James Bond theme song to have reached the top spot on the Billboard Hot 100 chart. Photo: From left, Jon Taylor, Simon Le Bon, Nick Rhodes and Roger Taylor of the musical group Duran Duran arrive at the "South Park" 15th Anniversary Party at The Barker Hanger on Sept. 20, 2011, in Santa Monica, Calif. Credit: Frazer Harrison/Getty Images Gladys Knight Motown legend Gladys Knight performed the title song for "License to Kill" in 1989.

Photo: Gladys Knight arrives at the 2012 Billboard Music Awards held at the MGM Grand Garden Arena on May 20, 2012, in Las Vegas. Credit: Frazer Harrison/Getty Images Tina Turner U2's Bono and The Edge wrote the main title song for 1995's "Goldeneye," sung by Tina Turner. Photo: Tina Turner attends the Emporio Armani show during Milan Fashion Week on Feb. 26, 2011, in Milan, Italy. Credit: Vittorio Zunino Celotto Sheryl Crow The main title song for "Tomorrow Never Dies" (1997) was performed by Sheryl Crow, who co-wrote it with Mitchell Froom. Photo: Sheryl Crow performs during the Stagecoach Country Music Festival held at the Empire Polo Field on April 29, 2012, in Indio, Calif. Credit: AP Photo/Matt Sayles Garbage Alternative pop/rock band Garbage sang the title song for "The World Is Not Enough" (1999). Photo: Shirley Manson of Garbage performs onstage at the MTV World Stage Monterrey Mexico 2012 at Arena Monterrey on Sept.

12, 2012, in Monterrey, Mexico. Credit: Victor Chavez/Getty Images Madonna Madonna's title track for "Die Another Day" (2002) was a Top 10 single in the United States and No. 1 in several other countries. It was also nominated for a Golden Globe Award for best original song. Photo: Madonna performs on stage in Nice, France, on Aug. 21, 2012. Credit: AP Photo Chris Cornell Chris Cornell performed the title song for "Casino Royale" (2006), titled "You Know My Name." The former Audioslave frontman co-wrote the track with David Arnold, the soundtrack's composer. Photo: Chris Cornell performs live during the first day of Hard Rock Calling at Hyde Park on July 13, 2012, in London. Credit: Jim Dyson/Getty Images Jack White and Alicia Keys The first duet in the Bond series came from Jack White and Alicia Keys, who performed "Another Way to Die," the theme from "Quantum of Solace" (2008).

Photos: Jack White performs at Eurockeennes Music Festival on July 1, 2012, in Belfort, France (left). Alicia Keys performs during the 2012 MTV Video Music Awards on Sept. 6, 2012, in Los Angeles (right). Credit: Getty Images Adele Adele has confirmed that she has co-written and performed the theme for the film "Skyfall" (2012). This is the first Bond theme to have the same title as the film since Madonna's "Die Another Day" in 2002. Photo: Adele performs at the 54th Annual Grammy Awards held on Feb. 12, 2012, in Los Angeles. Credit: Getty Sam Smith Singer Sam Smith recorded "Writing's On The Wall," the theme song to 2015's "Spectre," the 24th James Bond adventure, starring Daniel Craig. It's the first James Bond theme song recorded by a British male solo artist since 1965. "This is one of the highlights of my career," Smith said.

Photo: Sam Smith performs "Stay With Me" during the 57th annual Grammy Awards on Feb. 8, 2015, in Los Angeles. Credit: Kevork Djansezian/Getty Images MI6 :: Live And Let Die (1973) :: James Bond 007 Live And Let Die Music - Live And Let Die Credits James Bond Theme: Monty Norman Song Composed By: Paul and Linda McCartney Song Performed By: Paul McCartney and Wings) Album Label: EMI / United Artists (USA), United Artists (UK) Single Label: Apple (USA, UK) Highest Chart Position: 9 (UK), 2 (US) Taking a temporary hiatus from scoring Bond films, John Barry subsequently passed the baton over to George Martin to compose the soundtrack for "Live And Let Die". This was the first James Bond film that Barry was, in at least some aspect, not a part of. Barry was then working on a musical and had had quarrels with producer Harry Saltzman over his title song to Diamonds are Forever (Saltzman thought the lyrics were too crude). Order Amazon UK History The score for Live and Let Die was orchestrated and conducted by George Martin, and recorded at the AIR Studios.

In his autobiography, Martin said he was approached by Harry Saltzman who was impressed by the orchestral backing of Paul McCartney's demo of the title song and wanted Martin to score the film. Martin agreed but then was surprised when Saltzman asked him who he thought should sing the title song; Martin said that Paul McCartney intended to. Saltzman wanted a black soul singer to match the blaxploitation theme of the film, but a compromise was agreed when B.J. Arnau would sing the title song in a nightclub sequence. The Arnau version of the song appears on the soundtrack album as a component in a medley that also contains two George Martin-composed instrumental pieces, "Fillet of Soul - New Orleans" and "Fillet of Soul - Harlem". Martin related how he worked closely with director Guy Hamilton who practically dictated how one of the tracks "If He Finds It, Kill Him" should sound. For the theme song, Martin teamed with former-Beatle Paul McCartney, who had previously been considered for Diamonds Are Forever in 1971. This was the first time the pair worked together since Abbey Road in 1969. The theme was written by Paul and his wife Linda McCartney and performed by Paul and his group, Wings.

Wings recorded "Live and Let Die" during the sessions for the Red Rose Speedway album. The single reached #2 in the U.S. and #7 in the U.K. Although McCartney's previous single, "My Love", had been credited to "Paul McCartney & Wings", the label of the "Live and Let Die" single credited the performing artist simply as "Wings." This is because the B-side of the single, "I Lie Around", was not sung by Paul McCartney but instead sung by Wings guitarist Denny Laine. When the song made its first album appearance on the soundtrack album, however, the song was credited to "Paul McCartney & Wings". Above: Sleeve artwork from the original single release in the US by Apple records. "Live and Let Die" was the last Paul McCartney single on Apple Records that was credited only to "Wings". Despite its first LP appearance on the 1973 soundtrack album, "Live And Let Die" was not featured on a Paul McCartney album until the Wings Greatest compilation in 1978.

"Live and Let Die" was the first James Bond theme song to be nominated for an Academy Award for Best Original Song (which gave Paul his second Academy Award nomination and Linda her first), but it lost to the theme song from "The Way We Were". Above: Artwork for the "Live And Let Die" single releases in Germany (left) and Japan (right). The single and the soundtrack album also disagree on the composer credit. The single giving sole authorship to Paul McCartney, while the soundtrack album credits Paul & Linda McCartney as the composer. In the 2001 documentary Wingspan, Paul revealed that Linda wrote the bridge section "What Does It Matter To You..." For many years "Live and Let Die" was a highlight of McCartney's live shows, complete with fireworks and lasers and in 2005, it was performed live during the halftime show at Super Bowl XXXIX. The song was first covered by the Stan Kenton big band in 1973, and then in 1991 by the rock band Guns N' Roses.

Fergie of the Black Eyed Peas, Geri Halliwell and Chrissie Hynde each covered the title tune, the latter for current Bond-composer David Arnold's compilation album, Shaken And Stirred: The David Arnold James Bond Project. Soundtrack Listing Paul McCartney — Live and Let Die — Listen, watch, download and discover music for free at Last.fm paul mccartney “Live and Let Die” is the main theme song of the 1973 James Bond film of the same name and was performed by Paul McCartney and Wings on the movie soundtrack and on the soundtrack album. The song was one of Wings’ most successful singles, and the most successful Bond theme to that point. Commissioned specifically for the movie and credited to Paul McCartney and his wife Linda, it reunited McCartney with Beatles producer George Martin, who both produced the… read more Don't want to see ads? Subscribe now Similar Tracks 1973 - James Bond - Live and let die: title sequence - YouTube 1973 - James Bond - Live and let die: title sequence Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content.

Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Sep 10, 2009 Title sequence from Guy Hamilton's 1973 film "Live and let die", starring Roger Moore as James Bond Many of the iconic aspects of a typical James Bond film were established in Dr. No, beginning with what is known as the gun barrel sequence, an introduction to the character through the view of a gun barrel, and a highly stylized main title sequence, both created by Maurice Binder. Category Paul McCartney and Wings, George Martin - Live and Let Die (Original Motion Picture Soundtrack) - Amazon.com Music By Devin Zydel on February 20, 2003 Format: Audio CD For the first time ever, the soundtrack for Live And Let Die has been remastered and now includes 8 brand new tracks available for the first time. Live And Let Die boasts one of the best title songs in the entire series. Paul McCartney and The Wings perform the slam-bang exciting title song with thrilling beats and a magnificent flow! The song charted at #2 in the US making it one of the best Bond songs ever.

George Martin composes the score this time around with a very laid back lounge type style, which actually works for the film. He made his own version of the James Bond Theme (Track 14), which can also be heard throughout several other tracks. Adventerous music that includes the very high brass includes Snakes Alive, Baron Samedi's Dance Of Death, Sacrifice and Boat Chase. Also included in the Live And Let Die title song version by B.J. Arnau and alternate versions of San Monique. The famous Gunbarrel is also included as a bonus track on the CD. With 22 tracks and 56 minutes of music, a thrilling title song and a smack-down score, Live And Let Die is a classic soundtrack for all 007 fans! By Kevin R. Austra on August 11, 2004 Format: Audio CD The remastered release of LIVE AND LET DIE is much improved. The previous issue was no different than the track line up on the original 1973 vinyl record -- or eight track tape, depending on your antiquated stereo.

Not only does this release include additional superb tracks, some of the original cuts have also been lengthened and more closely correspond the the film soundtrack. George Martin, the Beatles producer, took the helm from John Barry in scoring the eighth James Bond film soundtrack. Though no one has yet equaled Barry's compositions for Bond films, which we have not heard since 1987's THE LIVING DAYLIGHTS, Martin's soundtrack was perfect for launching Roger Moore's first outing as Bond. Let us not forget Paul McCartney's brilliant theme of the same name. The musical chemistry between McCartney and Martin is obvious as the title theme music is blended throughout the soundtrack. As a matter of trivia the movie producers originally planned to use McCartney's title theme with a female vocalist before the former Beatle showed his mettle as a negotiator. In the end, Paul McCartney and Wings performed the title track. LIVE AND LET DIE also proved to be a hit Apple/Capitol single as well. There are a couple things missing from the CD. When some of the James Bond soundtracks were re-released a couple years ago they included selected soundbytes and an analog movie trailer. Apparently the remastered LIVE AND LET DIE soundtrack did not rate these extra features.

Oh well, Live and Let Die. In the meantime, live and go buy. By trebe TOP 500 REVIEWER on October 10, 2009 Format: Audio CD Live And Let Die (1973), was the start of a new era in the James Bond universe, as Roger Moore replaced Sean Connery as Agent 007. Moore brought a new slant to the character, and there was a change in the music department as well. Mostly known up to this point, for his work as a producer for The Beatles iconic albums of the late 60's, George Martin became the first after John Barry, to score a Bond soundtrack as the sole composer. Martin's connection to The Fab Four paid big dividends, as Paul McCartney penned the title song Live and Let Die, and performed it with his group Wings. The song was a mainstream of rock number, unlike the title song from any previous Bond soundtrack, and was a massive hit in both Britain and America. Live And Let Die was nominated for an Academy Award for best original song, but lost to Marvin Hamlich's, The Way We Were, which was a Number 1 hit for Barbara Streisand.

In 1976, Hamlish would become the third composer to score a Bond film solo, in The Spy Who Loved Me. George Martin's music for James Bond was a departure from Barry's more traditional orchestral sound. Martin went in more of a funk and rock direction, getting in step with the tone of the film, which featured locations in New York, Louisiana, and Jamaica. Martin does a fine job of coming up with an original approach, and then blending in the James Bond Theme (by Monty Norman), Barry's traditional Bond elements, and McCartney's Live And Let Die melody, into some of his more modern rock influenced compositions. When originally released on vinyl record in 1973, the soundtrack was a little over 34 minutes in length. The remastered 2003 expanded version, is 56 minutes long, so there was obviously more music that could have been included on the LP. For almost thirty years, a severely truncated version masqueraded as the `Original Motion Picture Soundtrack' (OST). Thankfully this travesty has at last been redressed, and the new version is a substantial improvement over the original.

Notable compositions among the selections from the 1973 OST, are Martin's original works for the voodoo themed scenes. The wild and rhythmic Baron Samedhi's Dance of Death, perfectly captures the spirit of the voodoo crazed Baron. Sacrifice, is mostly drums building up to a climax, and seems like an odd choice for inclusion, as it would appear to have limited musical appeal. Tracks like Bond Meets Solitaire, Snakes Alive, and Bond Drops In, display Martin's musical flair in incorporating some of Barry's traditional Bond themes, with his own ideas. The original album version of San Monique is a more uptempo and fun listen, than the relaxed version that was added as a bonus track. Trespassers Will Be Eaten, features Martin cleverly working a theme, and building it to a climax. The bonus tracks give the 2003 OST a more well-rounded sound, as the tracks on the original 1973 OST, seem to have more of a Barry flavor, with some New Orleans jazz, and voodoo themed music mixed in.

The bonus tracks, Bond and Rosie, New Orleans, Boat Chase, and Underground Lair, all incorporate to some degree, McCartney's Live and Let Die theme, which was not featured very prominently in the selections from the 1973 OST. These tracks, where Martin fuses his ideas, with McCartney's and Barry's themes, puts more of McCartney's stamp on the music. It took almost 30 years, but we can finally fully realize how fine a job George Martin did, in replacing the masterful, John Barry. By gobirds2 on November 18, 2007 Format: Audio CD|Verified Purchase George Martin's inspiration for composing a score for LIVE AND LET DIE seems to have been SHAFT rather than earlier James Bond films. There is nothing wrong with this approach. However all the musical cues for James Bond, the hero of the piece, should never stray too far from his musical roots and that sound should remain consistent. This is similar to the mistake Michael Kamen made with his score for LICENCE TO KILL. If you examine John Barry's score for THE MAN WITH THE GOLDEN GUN it is has an oriental quality to it reflecting Macao, Hong Kong and the Thailand settings.

However, when he employs references to "The James Bond Theme" the score reverts back to a more consistent musical orchestration, only very subtly suggesting the locale and shifts the focus to James Bond the secret agent. However, as an album LIVE AND LET DIE is very good. George Martin seems to have wisely chosen tracks that combined strains of James Bond and Solitaire's themes with a sustained beat resulting in a cohesive sound throughout. It is not John Barry at all, but instead is a refreshing look at James Bond as he dives headfirst into this unique world at a time and place of the early 70s. The extra tracks are outstanding making this one of the best James Bond soundtracks. - Live and Let Die - Amazon.com Music Live and Let Die Customers Who Bought This Item Also Bought Page 1 of 1 Start over Page 1 of 1 This shopping feature will continue to load items. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Special Offers and Product Promotions Check Out Our Turntable Store Need a new record player? Check out our turntable store for a great selection of turntables, needles, accessories, and more.

Amazon Best Sellers Rank: #1,920,351 in Music ( See Top 100 in Music ) Customer Reviews By Devin Zydel on February 20, 2003 Format: Audio CD For the first time ever, the soundtrack for Live And Let Die has been remastered and now includes 8 brand new tracks available for the first time. Live And Let Die boasts one of the best title songs in the entire series. Paul McCartney and The Wings perform the slam-bang exciting title song with thrilling beats and a magnificent flow! The song charted at #2 in the US making it one of the best Bond songs ever. George Martin composes the score this time around with a very laid back lounge type style, which actually works for the film. He made his own version of the James Bond Theme (Track 14), which can also be heard throughout several other tracks. Adventerous music that includes the very high brass includes Snakes Alive, Baron Samedi's Dance Of Death, Sacrifice and Boat Chase. Also included in the Live And Let Die title song version by B.J. Arnau and alternate versions of San Monique.

The famous Gunbarrel is also included as a bonus track on the CD. With 22 tracks and 56 minutes of music, a thrilling title song and a smack-down score, Live And Let Die is a classic soundtrack for all 007 fans! Paul McCartney on Apple Music To preview a song, mouse over the title and click Play. Open iTunes to buy and download music. Biography Out of all the former Beatles, Paul McCartney by far had the most successful solo career, maintaining a constant presence in the British and American charts during the '70s and '80s. In America alone, he had nine number one singles and seven number one albums during the first 12 years of his solo career, and in his native United Kingdom, his record was nearly as impressive. McCartney's hot streak began in 1970, when he became the first Beatle to leave the group. A little more than a year after the Beatles' breakup, McCartney formed Wings with his wife Linda and Moody Blues guitarist Denny Laine, and the group remained active for the next ten years, racking up a string of hit albums, singles, and tours in the meantime.

Wings disbanded in 1980 but McCartney stayed near the top of the charts over the next five years, thanks in part to a couple big duets with Michael Jackson. McCartney revived his solo career in 1989 via Flowers in the Dirt and its accompanying international tour, setting a template he would follow into the new millennium, when he'd support his records by playing concerts around the world. Between these massive endeavors, McCartney pursued other projects, including classical compositions, an electronica outfit with Youth called the Fireman, and overseeing archival projects such as the Beatles' Anthology series. As the 21st century rolled on, McCartney continued to take risks, including recording an album of standards from the Great American Songbook and collaborating with rapper Kanye West, proving that there was no area of popular music he couldn't touch. Like John Lennon and George Harrison, McCartney began exploring creative avenues outside the Beatles during the late '60s, but where his bandmates released their own experimental records, McCartney confined himself to writing and producing for other artists, with the exception of his 1966 soundtrack to The Family Way.

Following his marriage to Linda Eastman on March 12, 1969, McCartney began working at his home studio on his first solo album. He released McCartney in April 1970, two weeks before the Beatles' Let It Be was scheduled to hit the stores. Prior to the album's release, he'd announced that the Beatles were breaking up, against the wishes of the other members. As a result, the tensions between him and the other three members, particularly Harrison and Lennon, increased and he earned the ill will of many critics. Nevertheless, McCartney became a hit, spending three weeks at the top of the American charts. Early in 1971, he returned with "Another Day," which became his first hit single as a solo artist. It was followed several months later by Ram, another homemade collection, this time featuring the contributions of his wife, Linda. By the end of 1971, the McCartneys had formed Wings, which was intended to be a full-fledged recording and touring band. Former Moody Blues guitarist Denny Laine and drummer Denny Seiwell became the group's other members, and Wings released their first album, Wild Life, in December 1971.

Wild Life was greeted with poor reviews and was a relative flop. McCartney and Wings, which now featured former Grease Band guitarist Henry McCullough, spent 1972 as a working band, releasing three singles -- the protest "Give Ireland Back to the Irish," the reggae-fied "Mary Had a Little Lamb," and the rocking "Hi Hi Hi." Red Rose Speedway followed in the spring of 1973, and while it received weak reviews, it became his second American number one album. Later in 1973, Wings embarked on their first British tour, at the conclusion of which McCullough and Seiwell left the band. Prior to their departure, McCartney's theme to the James Bond movie Live and Let Die became a Top Ten hit in the U.S. and U.K. That summer, the remaining Wings proceeded to record a new album in Nigeria. Released late in 1973, Band on the Run was simultaneously McCartney's best-reviewed album and his most successful, spending four weeks at the top of the U.S. charts and eventually going triple-platinum.

Following the success of Band on the Run, McCartney formed a new version of Wings with guitarist Jimmy McCulloch and drummer Geoff Britton. The new lineup was showcased on the 1974 British single "Junior's Farm" and the 1975 hit album Venus and Mars. At the Speed of Sound followed in 1976; it was the first Wings record to feature songwriting contributions by the other bandmembers. Nevertheless, the album became a monster success on the basis of two McCartney songs, "Silly Love Songs" and "Let 'Em In." Wings supported the album with their first international tour, which broke many attendance records and was captured on the live triple-album Wings Over America (1976). After the tour was completed, Wings rested a bit during 1977, as McCartney released an instrumental version of Ram under the name Thrillington, and produced Denny Laine's solo album Holly Days. Later that year, Wings released "Mull of Kintyre," which became the biggest-selling British single of all time, selling over two million copies. Wings followed "Mull of Kintyre" with London Town in 1978, which became another platinum record.

After its release, McCulloch left the band to join the re-formed Small Faces, and Wings released Back to the Egg in 1979. Though the record went platinum, it failed to produce any big hits. Early in 1980, McCartney was arrested for marijuana possession at the beginning of a Japanese tour; he was imprisoned for ten days and then released, without any charges being pressed. Wings effectively broke up in the wake of McCartney's Japanese bust, although its official dissolution was not announced until April 27, 1981, when Denny Laine left the band. Back in England, McCartney recorded McCartney II, which was a one-man band effort like his solo debut. Ironically, the hit single associated with the album was a live take of the song "Coming Up" that had been recorded in Glasgow with Wings in December 1979 and was intended to be the B-side of the 45, with the solo studio recording as the A-side. DJs preferred the live version, however, and it went on to hit number one. Later in 1980, McCartney entered the studio with Beatles producer George Martin to make Tug of War.

Released in the spring of 1982, Tug of War received the best reviews of any McCartney record since Band on the Run and spawned the number one single with "Ebony and Ivory," a duet with Stevie Wonder that became McCartney's biggest American hit. In 1983, McCartney sang on "The Girl Is Mine," the first single from Michael Jackson's blockbuster album Thriller. In return, Jackson duetted with McCartney on "Say Say Say," the first single from McCartney's 1983 album Pipes of Peace and the last number one single of his career. The relationship between Jackson and McCartney soured considerably when Jackson bought the publishing rights to the Beatles' songs out from underneath McCartney in 1985. McCartney directed his first feature film in 1984 with Give My Regards to Broad Street. While the soundtrack, which featured new songs and re-recorded Beatles tunes, was a hit, generating the hit single "No More Lonely Nights," the film was a flop, earning terrible reviews. The following year, he had his last American Top Ten with the theme to the Chevy Chase/Dan Aykroyd comedy Spies Like Us.

Press to Play (1986) received some strong reviews but was another flop. In 1988, he recorded a collection of rock & roll oldies called Choba B CCCP for release in the U.S.S.R.; it was given official release in the U.S. and U.K. in 1991. For 1989's Flowers in the Dirt, McCartney co-wrote several songs with Elvis Costello; the pair also wrote songs for Costello's Spike, including the hit "Veronica." Flowers in the Dirt received the strongest reviews of any McCartney release since Tug of War, and was supported by an extensive international tour, which was captured on the live double-album Tripping the Live Fantastic (1990). For the tour, McCartney hired guitarist Robbie McIntosh and bassist Hamish Stuart, who would form the core of his band through the remainder of the '90s. Early in 1991, McCartney released another live album in the form of Unplugged, which was taken from his appearance on MTV's acoustic concert program of the same name; it was the first Unplugged album to be released.

Later that year, he unveiled Liverpool Oratorio, his first classical work. Another pop album, Off the Ground, followed in 1993, but failed to generate any big hits, despite McCartney's successful supporting tour. Following the completion of the New World tour, he released another live album, Paul Is Live, in December 1993. In 1994, he released an ambient techno album under the pseudonym the Fireman. McCartney premiered his second classical piece, The Leaf, early in 1995 and then began hosting a Westwood One radio series called Oobu Joobu. But his primary activity in 1995, as well as 1996, was the Beatles' Anthology, which encompassed a lengthy video documentary of the band and the multi-volume release of Beatles outtakes and rarities. After Anthology was completed, he released Flaming Pie in summer 1997. A low-key, largely acoustic affair that had some of the same charm of his debut, Flaming Pie was given the strongest reviews McCartney had received in years and was a modest commercial success, debuting at number two on the U.S. and U.K.

charts; it was his highest American chart placing since he left the Beatles. Flaming Pie certainly benefited from the success of Anthology, as did McCartney himself -- only a few months before the release of the album in 1997, he received a Knighthood. On April 17, 1998, Linda McCartney died after a three-year struggle with breast cancer. A grieving Paul kept a low profile in the months to follow, but finally returned in fall 1999 with Run Devil Run, a collection that primarily included cover songs. The electronica-based Liverpool Sound Collage followed a year later, and the pop album Driving Rain -- a successor, of sorts, to Flaming Pie -- came a year after that. The live album Back in the U.S. appeared in America in 2002 with the slightly different international edition, Back in the World, following soon after. McCartney's next studio project included sessions with super-producer Nigel Godrich, the results of which appeared on the mellow Chaos and Creation in the Back Yard, released in late 2005. The album reached the Top Ten in more than a dozen countries, including the U.S. and U.K.

McCartney performed every instrument (not including the strings) on 2007's David Kahne-produced Memory Almost Full, a bold but whimsical collection of new songs, some of which had been recorded before the Chaos and Creation in the Back Yard sessions. It too reached the Top Ten across the world. A live CD/DVD set, Good Evening New York City, appeared in 2009. The following year, McCartney kicked off an extensive reissue campaign with a box set of Band on the Run, and he supported the reissue with an American tour in the summer of 2011. Later in 2011, McCartney released his first ballet, Ocean's Kingdom, and less than a year later followed with another first -- his first collection of pre-WWII standards. The latter work, titled Kisses on the Bottom, topped the U.S. jazz charts and reached the Top Five in seven different countries.

His busy year continued during the summer, when he ended the opening ceremony of London's 2012 Olympics with a set that included a customary extended version of "Hey Jude." A surprising cap to 2012 came that December when he appeared on-stage with the surviving ex-members of Nirvana as part of a benefit concert for victims of Hurricane Sandy. The year 2013 brought recording sessions with four of McCartney's favorite producers: Paul Epworth, Ethan Johns, Giles Martin, and Mark Ronson. His initial intention had been to hold trial sessions with each producer, aiming to select one of them to oversee the whole of his next album. However, each of them had a hand in producing New, his first album of original material in six years, which appeared that October. New debuted in the Top Ten in more than a dozen countries and McCartney supported the album over the next two years with a series of international tours. In 2015, he continued his Paul McCartney Archive project with deluxe reissues of Tug of War and Pipes of Peace. The next summer he released Pure McCartney, a personally curated overview of his solo career available in two separate incarnations: a double-disc set and a four-disc box.

~ Stephen Thomas Erlewine & William Ruhlmann Top Albums

Question: Paul McCartney and Wings provided the title song for which 1973 James Bond film?
Answer: LIVE AND LET DIE