From Shirley Bassey to Sam Smith: the James Bond Theme Songs, Ranked 18. "Thunderball" by Tom Jones (1965) True story: Jones actually put so much into hitting the song’s final high note that he fainted. And while the song is decent – and, sure, very James Bond-y – it’s not the strongest of the bunch, and that may be because it wasn’t initially intended as the opening number. Shirley Bassey recorded a better one, "Mr. Kiss Kiss Bang Bang" , for the film, and Dionne Warwick did a take on it too, but the producers ultimately opted for a track that bore the movie’s name, even if the vague term “Thunderball” doesn’t exactly lead to easy lyrics. Most tantalizing of all? Johnny Cash also wrote a song called "Thunderball," but it wasn’t used. 17. "Moonraker" by Shirley Bassey (1979) Theory: The more vague James Bond movie titles don’t make for good literal translations to songs. It didn’t help that Bassey only came in last minute to record “Moonraker” and that she’d already recorded two superior James Bond themes.

Hey, it’s at least better than the disco remix that plays over the end credits. 16. "License to Kill" by Gladys Knight (1989) The track was a moderate hit for Knight, and she has the right vocal style for a James Bond theme, but this last theme before the Pierce Brosnan era just doesn’t soar quite as high as others. 15. "Die Another Die" by Madonna (2002) The first Bond theme of the new millennium made a drastic departure from typical opening number fare. Who would have expected eletroclash to kick off a James Bond movie? The thing with “Die Another Day” is that it’s a decent post-’90s Madonna track but just doesn’t sound a whole lot like a Bond theme. Bonus points, though, for Madonna’s cameo in the film itself – a feat no other Bond theme singer had accomplished. (She’s the lesbian fencing instructor to Rosamund Pike’s character, BTW.) 14.

"For Your Eyes Only" by Sheena Easton (1981) Easton rode the success of “Morning Train” straight into singing the theme to the twelfth Bond film, beating out even a song with the same title performed by Blondie. This writer says Blondie should have gotten the nod. Argue among yourselves how memorable Easton’s track is, but regardless note that Easton is to date the only Bond theme singer to actually appear in the opening credits. 13. "Another Way to Die" by Jack White and Alicia Keys (2008) The first-ever Bond theme sung as a duet, the opening song to Quantum of Solace sounds like a decent enough Jack White single. And while he teams up well enough with Keys, you’d be forgiven for concluding that the track doesn’t fully capture the essence of classic James Bond. 12. "Diamonds Are Forever" by Shirley Bassey (1971) It’s not the Bond song for which Bassey is best known, but it’s a good theme that gets at the glitz and greed that typifies so many characters in James Bond’s universe. 11.

"The World Is Not Enough" by Garbage (1999) Shirley Manson’s voice made the perfect Bond theme choice in 1999. And the song was written with many of the themes at the heart of the films in mind – love and world domination, namely – to the point that it made a solid addition to the Bond canon. 10. "Writing’s on the Wall" by Sam Smith (2015) That opening orchestral blast certainly sounds James Bond-y enough, but fans of the films seem divided on Smith’s theme for the upcoming Spectre, with Smith’s falsetto in particular drawing mixed reactions. For now, consider this a placeholder ranking. We’ll have to hear the song in the context of the film itself, accompanied by the visuals, to give a more definitive evaluation. 9. "You Only Live Twice" by Nancy Sinatra (1967) A beautiful song whose instrumentation sets the stage for Bond’s first adventure in Japan, “You Only Live Twice” puts Sinatra’s vocals to good use, but there’s an even better, more guitar-centric version of the song produced by frequent Sinatra collaborator Lee Hazlewood. 8.

"James Bond Theme" by John Barry and his orchestra (1962) The first cinematic James Bond adventure, Dr. No, is the only one to lack a typical lyrical theme song, but you really can’t beat the thrilling guitar on that original James Bond song, performed here by John Barry and his orchestra. The theme has endured through fifty years of sequels – minus the calypso-style "Three Blind Mice," of course. 7. "You Know My Name" by Chris Cornell (2006) What a way to kick off a rebooted franchise. Cornell’s song nods to Bond’s long history as a legendary hero – that title, come on – and yet departs from tradition by skewing harder rock. It’s also notable that the opening sequence switches out sexy female silhouettes for abstracted male ones. 6. "GoldenEye" by Tina Turner (1995) Though it may be surprising that it took until 1995 for Turner to be tapped to record a sing a Bond theme, she made good with “GoldenEye,” in which she channels classic opening numbers but also makes it her own. The track was written by U2 members Bono and The Edge.

Fun fact: The Ace of Base song "Juvenile" was initially written as a potential theme to GoldenEye. Just replace the syllables “juvenile” with “GoldenEye.” 5. "Live and Let Die" by Paul McCartney & Wings (1973) The eighth Bond outing breaks with tradition and allowed Paul McCartney’s band to unleash a full-on rock-and-roll theme song. The song alternates between melodic and frantic, and that’s a pretty good musical shorthand for the life of James Bond: tender and sweet one minute and then running for dear life the next. 4. "Skyfall" by Adele (2012) Adele seems like she was born to sing a Bond theme. Her dark, soulful vocals ultimately won Best Original Song awards at both the Golden Globes and the Oscars. Best of all, previous Bond compositions by Shirley Bassey and Carly Simon helped inform the track. 3. "Nobody Does It Better" by Carly Simon (1977) Rather than have Carly Simon sing a James Bond-style theme song, the producers allowed to sing a Carly Simon-style song. The result?

One of the biggest hits of Simon’s career and a song that went on to a second life as an easy-listening standard. This one’s just a great love song, even independent of its association with The Spy Who Loved Me. 2. "Goldfinger" by Shirley Bassey (1964) To this day, this is the song most people think of when they hear the words “James Bond theme.” Bassey’s brash, beautiful voice not only sets the tone for the movie itself but prepares the audience for Auric Goldfinger, who at the time was the greatest foe 007 had taken on yet. Decades later, every subsequent singer of every subsequent Bond theme is trying to recapture the magic Bassey found in this one. 1. "A View to a Kill" by Duran Duran (1985) This may be heretical, but we’re not actually giving the top slot to “Goldfinger.” Nope, it goes to “A View to a Kill,” not only our favorite Bond song but also one of Duran Duran’s greatest hits. In fact, it’s the first Bond theme to hit No. 1 on the Billboard Top 100.

And aside from Grace Jones as May Day, it may be the best part about A View a to Kill. Show Full Article The 10 Best James Bond Songs (Until Adele’s 007 ‘Skyfall’ Theme Drops) | Idolator The 10 Best James Bond Songs (Until Adele’s 007 ‘Skyfall’ Theme Drops) John Hamilton @ForeverHamilton | October 1, 2012 - 5:30 am Share < br />this article: Rumor has it the producers of the next James Bond film, Skyfall, have only one diva in their sights for the sure-to-be-blockbuster theme song: multiple-Grammy-winner Adele ! Nothing has been officially confirmed by either camp, but we think the platinum 21 songbird is an ideal fit for the classic James Bond motif. Not only is she dynamic enough to follow in the footsteps of Bassey, Sinatra, and, er, Garbage , she’s got the talent and smarts to make the job completely her own. UPDATE: it’s no longer a rumor — Adele’s “Skyfall” has finally been confirmed !

To further illustrate our point, we’ve compiled a Top 10 list of our favorite Bond themes of all time. (Nobody does it better, right?) Sheena Easton, “For Your Eyes Only”: This silky theme was notable for being the first time any singer appeared in the film’s opening title sequence. It wasn’t all glamour for Easton: during filming, she had to be strapped to a chair while the director filmed multiple close-ups of her lips. Hot. Alicia Keys featuring Jack White, “Another Way to Die”: The offbeat combination of soulstress Keys and eccentric rocker White made for one of 007’s strangest – and most exciting – musical offerings. Four years later, we’re still trying to decide if we love it or hate it. We’re also still wondering if Jack White shares a stylist with Rosie O’Donnell. Paul McCartney & Wings, “Live and Let Die”: The “cute” ex-Beatle’s hard-rocking, schizophremic theme certainly packs a wallop! From string-laden ballad to acid rock anthem to reggae interlude, this three-minute tour de force makes us want whatever Sir Paul was enjoying when he wrote it.

Sheryl Crow, “Tomorrow Never Dies” and Carly Simon, “Nobody Does It Better”: We simply cannot choose between Crow’s relaxed sensuality and Simon’s thinly-veiled arousal — and why should we have to? We declare a tie between these are two perfectly lovely themes from two perfectly lovely singer-songwriters loved by moms the world over. Sheryl: Carly: Duran Duran, “A View to a Kill”: One of the few Bond titles that was downright danceable, this ’80s offering from Simon Le Bon and Co. perfectly conveys the pulse-surging excitement of a chase through the streets of Paris. Despite the input of composer John Barry, one can’t help but wonder how much better it would be with a cameo by the film’s outrageous co-star, Grace Jones ! Tom Jones, “Thunderball”: Legendary panty destroyer Jones proved he could deliver with the best of the Bond divas in this over-the-top performance. Thunderball was originally to have a theme song by Miss Dionne Warwick , but she was canned at the last minute on a technicality. (Her song didn’t include the film’s title.) No word on whether she called Tom a “hussy” on her way out of the building.

Tom: Dionne: Garbage, “The World is Not Enough”: The ’90s alterna-dance darlings enlisted soundtrack producer David Arnold to give them a touch of what made John Barry’s early Bond scores so magical: orchestral flair, an air of mystery and drama by the bucketful. Nancy Sinatra, “You Only Live Twice”: Ms. Sinatra traded in her kinky boots for this orchestral ballad from 1967’s film of the same name, and the Top 20 hit put her firmly in the pantheon of immortal Bond divas. Could there be a Bond theme in the future for noted Sinatra acolyte Lana Del Rey? (A “gangster” one, maybe?) Madonna, “Die Another Day”: Leave it to Madge to turn the concept of the Bond theme on its ear with a sparsely funky electroclash anthem. The last artist to put a 007 soundtrack single in the US Top 10 (it hit #8 back in 2002), La M earns extra points for making humorous use of the franchise’s iconic props in the appropriately violent video. Poor Blofeld’s kitty!

Shirley Bassey, “Diamonds Are Forever”: The classy Dame Bassey made a name for herself as the singer of John Barry’s Goldfinger score, but this timeless, diva-licious gem is considered by most to be the quintessential Bond theme. (And now you know where Kanye West got that sample for “Diamonds From Sierra Leone.”) Here’s the thing, though: none of these classics actually took home an Oscar. But — spoiler alert — Adele wins the Oscar for “Skyfall” . Why? Because, evidently, nobody does it better. What’s your favorite Bond theme? And are you looking forward to Adele’s upcoming entry in the film franchise’s canon? Let us know below, or by hitting us up on Facebook and Twitter ! You Only Sing 23 Times: The James Bond Theme Song Dossier | Tor.com You Only Sing 23 Times: The James Bond Theme Song Dossier Ryan Britt Mon Nov 12, 2012 6:00pm 16 comments Bombastic, kitsch, or catchy, there’s something unique about a James Bond theme song.

There are a few timeless classics, but most either represent a weird moment in the zeitgeist, or are downright embarassing. Uniquely, James Bond theme songs are often better than the films they kick off, though the reverse can occasionally be true, too. Now that Skyfall is out and we’ve all had a chance to enjoy Adele’s new theme song , it’s time to determine once and for all which 007 tunes are better than their respective films, which ones are worse, and which ones fit just right. Shake up a martini, and grab your headphones. The James Bond Theme Song Dossier is declassified! “Dr. No” (The James Bond Theme) written by Monty Norman. Performed by The John Barry Orchestra (1962) Though the Eric Rogers song “Under the Mango Tree” features heavily in this film (Bond even sings a few bars) the actual theme song for Dr. No is simply the slick famous instrumental James Bond theme, complete with horns and guitar. Every single real James Bond movie (the Peter Sellers Casino Royale and Connery’s Never Say Never Again don’t count) uses some arrangement of this theme. Does it fit with the movie? Well, really, how could it not?

Dr. No is a solid and entertaining James Bond film, but by no means the best. So, in this sense its theme song is better than the movie. It’s also possible that “The James Bond Theme” is better than all the James Bond movies combined. Verdict: Theme song is better. “From Russia With Love” written by Lionel Bart, performed by Matt Monro + “007” written by John Barry and performed by the The John Barry Orchestra (1963) I love this one. Several months ago I was waiting for a train on a New York City subway platform and a man was playing an instrumental version of this on a trumpet, which is awesome because the opening sequence of the film is also an instrumental version. (People singing at the start of James Bond movies doesn’t happen until Goldfinger.) This is one of those great classic crooner songs that just gets stuck in your head and makes you feel all dizzy and romantic. Like many James Bond themes, it’s actually more tender than the characters in the movie. From Russia With Love is up there with my favorite Connery movies, and this theme song does generally fit with the film.

However, I think it could have easily been a memorable movie even if it had a different theme song. But, the real cool one here is the introduction of the instrumental adventure theme “007.” This orchestral drum pounding romp is basically a chase scene in the form of strings, percussion, and brass. I love love love this. It’s more heroic than “The James Bond Theme,” and when it’s used in subsequent movies, I get chills. I’m really not sure why contemporary Bond composer David Arnold never brought it back for Dalton, Brosnan, or Craig-era films. Easily a better piece of music than the film where it originated. Verdict: “From Russia With Love” is probably as just as good as From Russia With Love. Meanwhile “007” beats them all and is perfect. “Goldfinger” written by John Barry, Anthony Newley, and Leslie Bricusse. Performed by Shirley Bassey (1964) Arguably, this is the best of all James Bond theme songs, introducing what is also arguably the best James Bond movie.

Like other early films, the song also incorporates part of “The James Bond Theme” into its arrangement, making the instrumental motifs of the song throughout the movie super-nuanced. There’s no getting around how great the movie is or how great this song still sounds. It’s sexy, flashy and memorable. This is also the first time of three times Shirley Bassey is singing for Bond! If I was backed against a wall by a man with a lethal hat and forced to pick between the song and the movie, I’d probably pick the song, by a very small margin. Verdict: Theme song is better, but only just barely. “Thunderball” written by John Barry and Don Black, performed by Tom Jones + “Mr. Kiss Kiss, Bang Bang” written by John Barry and Leslie Bricusse, performed by Dionne Warwick. (1965) This one is full of all sorts of weird history. The original theme for this movie was supposed to be “Mr. Kiss Kiss, Bang Bang” but was changed at the last minute to “Thunderball.” Johnny Cash also sent these guys a song called “Thunderball” which ended up not being used.

Finally, Tom Jones apparently fainted after singing the last note of “Thunderball!” Weird. After “Goldfinger” we got another Bond theme song seemingly about the bad guy, rather than about Bond. Or is it about Bond? Tom Jones is fairly cool in this one, but there’s something about Thunderball the movie and the song that aren’t quite up to par for me. (Maybe it’s because they couldn’t make their minds up.) There’s a great underwater scuba-brawl which uses “007” again, but this is definitely one where the movie is slightly better than the song. Tom Jones is right for a James Bond song, but fails to be as memorable as some of the other big artists. “Mr. Kiss Kiss Bang Bang” shows up on some Bond music compilation and is a little too tinny and silly for my tastes. James Bond movies sometimes have two legitimate theme songs, but I really don’t think “Mr. Kiss Kiss Bang Bang” should count.

Verdict: The movie &amp;amp;amp;amp;amp;amp;amp;lt;i&amp;amp;amp;amp;amp;amp;amp;gt;Thunderball&amp;amp;amp;amp;amp;amp;amp;lt;/i&amp;amp;amp;amp;amp;amp;amp;gt; is slightly better than the song &amp;amp;amp;amp;amp;amp;amp;amp;ldquo;Thunderball.&amp;amp;amp;amp;amp;amp;amp;amp;rdquo; Verdict: Thunderball and “Thunderball” are both decent, with the movie being slightly better. “Mr. Kiss Kiss Bang Bang” is really hard to accept as being real. “You Only Live Twice” written by John Barry and Leslie Bricusse, performed by Nancy Sinatra (1967) Like many of the early Bond songs, the arrangements of the melodies are a natural fit for the film’s score. I think the opening strings in this one are totally over-the-top cheesy-wonderful. The world seems to agree with me, since covers and samples of this song are everywhere! From Bjork to Coldplay to Robbie Williams to Cee-Lo, those opening strings are part of the human musical brain.

This one is a personal favorite and despite the various incarnations, I think Nancy Sinatra hits it out of the park. There’s also a stellar foot-chase sequence in where an aerial camera angle is accompanied by the orchestral version of the theme. Great movie moment. For me “You Only Live Twice” is a kooky and fun Bond movie, with a fitting saccharine theme song. But because of its deserved ubiquity, I think the song is winning. Verdict: Theme song is better! (Related viewing: the video for Robbie Williams “Millenium”which is is a full-on Connery and Moore era James Bond homage. Aston Martin! Voodoo guy! Gambling! Jet pack!) “On Her Majesty’s Secret Service” Written by John Barry, performed by theJohn Barry Orchestra + “We Have All the Time in the World” Written by John Barry, performed by Louis Armstrong (1969) Oh no! The Connery era is pratically over! When Bond was rebooted with new actor George Lazenby, the opening titles were, again only instrumental.

“On Her Majesty’s Secret Service” is an awesome piece of music and so iconic that it was even sampled in the trailer for The Incredibles. The film itself is a little on the not very good side, though aspects are interesting. The song is certainly winning over the movie with this one. However, the other theme song for “On Her Majesty’s Secret Service” is the Louie Armstrong “We Have All the Time in the World,” a love song about James Bond and Tracy, I guess. The title is also the last thing Bond says to the audience while he’s holding Tracy’s dead body in his arms. Seriously, this movie is such a downer; it almost makes me love it for being so weird. Almost. “We Have All the Time in the World” is sweet enough, but not something I ever listen to when I’m in the mood for Bond OR Louie Armstrong. Verdict: Theme song—“On Her Majesty’s Secret Service” is way better than the movie On Her Majesty’s Secret Service. Although “We Have All the Time in the World” is worse than On Her Majesty’s Secret Service.

“Diamonds Are Forever” Written Don Black, performed by Shirley Bassey, (1971) With Connery returning to the role of Bond, it makes sense to play it safe and go with Shirley Bassey for the song, since she previously did the best Bond song ever with “Goldfinger.” Notably, this is the only time a performer was used again (Bassey recorded three in all) to do a Bond opening theme. However, it’s less than stellar. “Diamonds Are Forever” is slow, uninteresting and has creepy themes. Sort of like the movie! This is one everyone should skip. Hearing this song always reminds me of how bored Connery looked in this movie. The song and the movie certainly need each other, but they’re both just the worst. Then-Bond producer Harry Saltzman also hated the song. Verdict: Both are terrible. “Live And Let Die” written and performed by Paul McCartney and Wings (1973) The first Bond film to feature Roger Moore was also the first to not have John Barry composing the music. This time, Beatles producer George Martin was in charge, making ex-Beatles Paul McCartney a natural choice for the theme song.

I’ve always loved how Bond is talking smack about The Beatles in Goldfinger but less than 10 years later; a Beatle produces the best James Bond song since the song “Goldfinger.” As a big Beatles fan, this is never a Paul McCartney solo song I ever listen to, mostly just because it’s been a bit over-played. But I loved it as a kid. It’s great, it seems like a Bond movie, it’s really different from 60’s era stuff and the orchestral arrangements of it in the film are thrilling. Is it better than the movie it occupies? You bet. Live and Let Die is a disaster of movie. Sometimes racist, other times inappropriately slapsticky. This one is really hard to watch, even if Roger Moore’s 70’s suits look great and the alligator sequence rocks. The song will live on way beyond anyone’s knowledge of the film. Just don’t listen to that Gun N’ Roses version. Verdict: ”Live and Let Die“ is way better than Live and Let Die. “The Man With the Golden Gun” Written by John Barry and Don Black, performed by Lulu (1974) Oh the 70s.

I’m so confused by you. Why were there groups singers like Lulu in the 70s? Why did she do this song? Just how much does it suck? Almost as much as the oddly creepy movie? There’s a school of thought which claims James Bond was ruined over the years by too much self-parody in the writing of the scripts. The same might very well be true of the theme songs; with “The Man With the Golden Gun” being a big culprit. Full of sex/killing innuendos, this earworm is definitely one to skip. The movie is slightly better than its theme song, but only because Christopher Lee is in it and he has three nipples. Verdict: Movie is barely better. “Nobody Does It Better” Written by Marvin Hamlisch and Carole Bayer Sager, performed by Carly Simon (from The Spy Who Loved Me, 1977) I know this is going to be hard for everyone to believe but this is easily one of my favorite songs of all time, and my secret favorite among the good James Bond theme songs.

Carly Simon’s famous love letter to Bond has been covered by pretty much everyone, but the Aimee Mann version is easily the best and possibly better than the original. Of the various Bond songs which are corny love songs, this is the best. The movie isn’t bad either! Bond meets his match with agent XXX (not Vin Diesel), drives an underwater car, and shoots a dude while skiing. What more do want? It’s too bad the song is so memorable, because it would almost be a tie. But, really, this song could have gone with any Moore-era Bond movie. Verdict: Song is better. “Moonraker” written by John Barry and Hal David. Performed Shirley Bassey (1979) Not sure what they were thinking here. I suppose after a love song worked as the opening theme for The Spy Who Loved Me, the producers figured bringing back the singer of “Goldfinger” (again) was money in the bank. It’s so weird that both of these Shirley Bassey songs after “Goldfinger” are big old clunkers. She’s got a gorgeous voice and in theory this should work, but it’s just weird.

Why is this corny love song at the beginning of a movie about Bond flying space ships and shooting lasers? Is this a dream? Obviously because of the aforementioned lasers and the return of Jaws, the movie Moonraker is way better than the song “Moonraker.” Verdict: Movie is better. “For Your Eyes Only” by written by Bill Conti and Michael Leeson, performed by Sheena Easton (1981) I am a huge James Bond fan, but I’m not sure I can tell you what happens in this movie. Part of me is convinced it’s not actually anything more than a series of Bond clichés strung together. Here’s the snow scene! Look, here’s Bond in the casino! Now he’s underwater! I also recall Roger Moore wearing a windbreaker and looking like someone’s lame dad throughout. The theme song however is kind of sweet and is the only Bond opening sequence to actually feature the singer singing to you! The first time a character sings the theme song in a Bond movie is “Live And Let Die” but of course the person singing isn’t Paul McCartney. The only time a singer of the theme song is also a character in a Bond movie is when Madonna appears in Die Another Day.

“For Your Eyes Only” was also nominated for a Golden Globe and an Academy Award. Though I’m not crazy about the corny love-song marathon during the Roger Moore era, this one doesn’t really bug me. Though Blondie was originally going to do a song (bummer!) Sheena Easton is fantastic. There’s no question that this forgettable Bond movie is much worse than its sweet little theme song. Verdict: Song is way better, and actually kind of romantic. “All Time High” (From Octopussy) Written by John Barry and Tim Rice, performed by Rita Coolidge. (1983) Wow. This song is terrible. I remember being mortified by its crappiness even as a teenager. The Roger Moore-era is sort of at its worse in Octopussy. The saxophone outro of this song describes the crappiness of the movie and the song perfectly. Shockingly, Tim Rice wrote the lyrics to this cliché nonsense. I’d like to say Maud Adams saves this movie, but she doesn’t, no more than Tim Rice saves the song.

In terms of the song/movie competition, it’s slightly close because they’re both so bad, but I’ll have to give it to the movie, if only for the audacious title. Verdict: Movie is better, I guess? “A View To A Kill” written by John Barry and Duran Duran and peformed by Duran Duran. (1985) Boom! Bond is back! In terms of charts and sales, this is still the most popular James Bond theme song, ever. That’s right, Duran Duran beat Paul McCartney! Apparently it was also Duran Duran’s idea to do a James Bond theme song, after the bassist John Taylor asserted that nobody decent ever does the theme songs. Is the movie any good? Well, it’s got Christopher Walken, Patrick Macnee, AND Grace Jones, so it’s watchable as hell. But, Roger Moore looks terrible in it and the film has a general suckiness to it. Overall, it’s super fun. However, the contest between song and movie is pretty obvious in this one. Verdict: Song is WAY better.

“The Living Daylights” written by John Barry and Ah-ha, performed by A-ha (Also “If There Was a Man” by the Pretenders, 1987) After over a decade of Roger Moore as Bond, Timothy Dalton stepped into the role for what was a slightly more serious version of the famous agent. This was the last Bond film scored by John Barry, and featured an upbeat opening track by A-ha. It’s funny how the successful Bond theme songs sometimes would create a trend of other very similar types of songs. After “Nobody Does It Better” became a success, all Bond movies had saccharine love songs. After “A View To A Kill” killed it, the producers seemed to have ordered a pop-replacement in the form of “The Living Daylights.” For being a poor man’s “A View To A Kill,” “The Living Daylights” isn’t all that bad. For novelty reasons only, I sometimes prefer it to “A View To A Kill.” The movie isn’t half bad either. Though, on balance, everything here is just okay.

And because the song really is a poor man’s “A View To A Kill,” and the movie has a scene in which Bond rides a cello case like a sled, the movie wins by a small margin. Oddly, this is an instance in a Bond movie where there’s randomly another song sung over the closing credits. It’s called “If There Was a Man” and it’s by The Pretenders. I guess they were trying to make a big deal out of Dalton’s debut by giving him two songs? This one doesn’t have any impact on me at all, and there was a man, but so what? Verdict: The movie is a little better. Though I really irrationally love this song. “License To Kill” written by Narada Michael Walden, Jeffrey Cohen and Walter Afanasieff. Performed by Gladys Knight and “If You Asked Me To” written and performed by Patti LaBelle. (1989) I feel like with this song the Bond franchise is splitting the difference.

On the one hand this is a sort of old school love song from the Roger Moore era, but on the other hand it’s kind of got some throwbacks to “Goldfinger.” (It even uses some of the horn line from that one.) I actually quite like this song and I think there’s something slightly more romantic about it than it lets on. Like the previous Bond film, this one also has a second song sung over the end credits; the Patti LaBelle song “If You Asked Me To” which was covered by Celine Dion years later. It’s pretty obvious why Celine took it; it’s a belter of a big epic love song. Totally great. Weird that it’s in this James Bond movie. The movie is sort of just okay. Though I’m always bonkers for the “Bond goes rogue” premise, this one has a lot of third act problems which really bury the movie in a confusing mess filled with semi-trucks and missile launchers. If you have to choose between the two, I think the Gladys Knight music video is sort of genius. Verdict: The song is better and Gladys Knight looks great in a tux.

“GoldenEye” written by Bono and the The Edge, performed by Tina Turner (1995) Despite some corny hacker stuff, GoldenEye holds up as being a really great Bond movie and easily remains the best of the four Pierce Brosnan outings. And the theme song is awesome! Written by Bono and The Edge of U2, this one feel like a classic era Bond song, but is somehow new and catchy every time you hear it. The opening title sequence was really hot and the music video with Tina is great. I’m sort of bummed out she’s not in the movie playing some awesome MI6 inventor or something. Not since Mad Max: Beyond Thunderdome has a movie needed Tina Turner more. Further, considering how long Bond had been away, they needed some big guns like Tina. Verdict: The song is better. Come on. It’s Tina Turner. Why did it take them so long to get her to do one of these anyway? “Tomorrow Never Dies” written and performed by Sheryl Crow and “Surrender” written by k.d. lang and David Arnold and perfromed by k.d. lang.

(1997) The 1990s are a weird time for James Bond movies, and the choice of Sheryl Crow for this one seems super arbitrary. I actually don’t mind Sheryl Crow at all, but this is not one of her better offerings. I mean that “Steve McQueen” song of hers is better than this. Tomorrow Never Dies the film is also a huge step backwards after GoldenEye and the feeble attempt the song is making to be catchy parallels the feeling you get from the movie: it’s just trying a little too hard. Oddly, there’s again another theme song in this movie which is much better called “Surrender”written with new Bond composer David Arnold and performed by k.d lang. This song is totally awesome, sounds like a Bond theme, and was relagated to end-credtis status by the producers. Bummer! (But here’s a fan-edit with the good k.d.

lang song for the opening credits.) Verdict: The movie Tomorrow Never Dies is slightly better than the song “Tomorrow Never Dies” BUT, the k.d lang song “Surrender” is way better than Tomorrow Never Dies and “Tomorrow Never Dies.” “The World is Not Enough” written by David Arnold and Don Black, performed by Garbage. (1999) I really like this one. It’s got something really old-fashioned about it, but it also rocks. I think Garbage is great. (I mean really, who hasn’t jammed out to “I’m Only Happy When it Rains?”) The movie is sort of a mixed bag. It’s pretty hard not to be offended by the presence of Denise Richards, but the rest of the story is actually not bad. I like the way Bond gets screwed over in this one and the way M is in on the action. But, really, you could hear the song and never care about the movie one bit. Apparently David Arnold really wanted this one to sound like a John Barry-era song. It worked and Shirley Manson sounds like she’s time-traveled straight from 1963. Verdict: The song is way, way better than the movie.

“Die Another Day” written and perfromed by Madonna (2002) It’s shocking no one thought to get Madonna to do a Bond theme before this one. With Die Another Day the franchise was pulling out all the stops because, at the time, it was the 40th anniversary of the Bond film franchise. In terms of a movie, I think Die Another Day is probably the worst James Bond movie of all time, if only because it’s such a cynical mess. (Though it does have a great pre-title sequence) It’s hard to believe this is the same James Bond from GoldenEye. However, I think Madonna’s theme song is a great techno-dance track and totally belongs in a James Bond movie. It’s rad. This music video in which she fights herself contains probably more James Bond references than the actual movie. It’s also sort of the best anyone could hope for in terms of being entertained by the weird medium of music videos based on songs written for movies. It should feel cynical, but it doesn’t. Verdict: The song is way better. “You Know My Name” (From Casino Royale, 2006) written by David Arnold and Chris Cornell. Performed by Chris Cornell.

Initially, I wasn’t crazy about this one mostly because I couldn’t get behind Chris Cornell’s voice. But as I’ve watched Casino Royale several times since, the song has really grown on me. I think it really hits me in an early scene when Bond is driving a fork lift and the awesome orchestra version of the theme sort of blasts through. It’s a great touch. Now, obviously Casino Royale is awesome and a nearly perfect Bond movie. I can’t say enough good things about it. It’s also the most faithful to the novels, which gives it huge points in my book. Verdict: The movie is way better by virtue of being maybe the best James Bond movie ever. “Another Way to Die” (From Quantum of Solace, 2008) written by Jack White. Perfomed by Jack White and Alicia Keyes. Still loving Daniel Craig as Bond even though Quantum of Solace is totally terrible feels weird. What is even happening in this movie? I know D. Craig is supposed to be the dark, brooding Bond, but the complete lack of humor in this movie is shocking. There’s something almost depressing about the movie’s lack of thematic focus. However, the song by Jack White and Alicia Keyes is excellent.

Not since Tina Turner, Bono and The Edge have the Bond songs had such talented musicans around. What a waste to use them on this odd duck of a James Bond movie. They’re the only duo in Bond song history thus far! The song is catchy and hot and this music video with them is even cooler than the Madonna ”Die Another Day“ entry. Verdict: The song is way better, if only because Jack White had the good sense to avoid using the word “quantum” in the lyrics. “Skyfall” for Skyfall (2012) Written by Adele and Paul Epworth. Performed by Adele The last time a Bond theme song was actually written and performed by someone from the U.K. was Duran Duran’s A View to a Kill. And though there’s been some quality ones since then, Adele’s “Skyfall” is absolutely beautiful. This one is a kind of crossroads between an old-school “Goldfinger” style theme (insofar as it incorporates the James Bond Theme) and a contemporary song written by a cool contemporary artist. The song is lush and gorgeous and is made all the better by the excellent title sequence.

I’d heard “Skyfall” before I saw the film, but the music gave me shivers in the theatre. Adele is also the first woman to feature by herself as a vocalist since Madonna’s Die Another Day. Unlike that one, Adele’s cool song opens up an awesome James Bond movie. Verdict: The movie is really great, and the song is too. Likely they’ll be remembered together. Though, unlike “Live and Let Die” or a “A View to a Kill, “I can’t see myself putting “Skyfall” on the jukebox. Then again, Skyfall the movie isn’t exactly casual viewing. There you have it readers/listeners. The history of James Bond theme songs is long and strange. If there’s one overall pattern I’ve noticed it’s this: when the film’s composer is not writing the theme song, and instead total creative control is left to that artist, the songs tend to be better and more memorable. But, without John Barry, and now David Arnold (who also now scores Sherlock), we certainly wouldn’t know what Bond sounds like in general, meaning their influence can’t be stressed enough.

Now, dear readers, tell me which theme songs you loved, which movies you thought were better than their songs and vice versa. Let’s shake things up 007 style! Ryan Britt is a staff writer for Tor.com. If you see him walking around lip-synching to his iPod, the chances of the song being “For Your Eyes Only” are really high. James Bond Movie Theme Songs List — 22 Ranked From Worst to Best - Movieline Movieline Bond at 50 || By: John Jarzemsky || September 26, 2012 05:26 PM EST For Your Ears Only − Ranking The 22 Bond Theme Songs From Worst − Sorry Jack and Alicia! − To Best Comments: 34 || Add Yours Despite the silliness, sexism, and let’s face it, more than a handful of bad movies, James Bond has endured as a franchise for 50 years because deep down inside, all of us, at one time, wanted to be spies, and as anyone living vicariously through the movies knows, a good spy needs a great theme song.

For better or for worse, presented below are all 22 James Bond title songs and sequences, ranked in order from worst to best. Get your martinis and Walthers ready, ladies and gentlemen… 22. Quantum of Solace I’ve got nothing against Jack White or Alicia Keys , but yikes. This sort of mash-up is just not what James Bond is about. The grating production and completely asynchronous arrangement would be irritating as a standalone song: in a Bond film it’s borderline insulting. The visuals aren’t too great either, and look like some sort of digitally upgraded B-roll from The Mummy Returns. 21. Die Another Day Fans said goodbye to Pierce Brosnan in 2002, and it’s hard to determine exactly how many films he overstayed his welcome by. Rest assured, however, that Die Another Day will go down in history as one of the worst Bond films of the modern era, and the cookie-cutter, auto-tuned, glitchy mess of a title track by Madonna (speaking of stars who overstayed their welcome…) isn’t going to be fondly remembered any time soon, either. 20.

The World Is Not Enough It’s hard to tell when performers began hoping a James Bond film would get them exposure rather than the other way around, but it’s safe to bet that it was well before Garbage performed the title track to 1999’s The World is Not Enough, since I imagine the bulk of kids in the theater went “who?” when the phrase “title song performed by Garbage” flashed across the screen. Still, the song is serviceable, and the sequence impressively slick. Ugh. Poor Shirley Bassey deserved better than this. After having her name attached to one certifiably classic and one so-so Bond film, Moonraker had to go and mess with the program. Clearly the producers insisted that Bassey drop the completely unmusical phrase “Moonraker” somewhere into the track, and it’s laughably bad. I would have just turned in a new cut of Goldfinger with the titles swapped out, but that’s why I’m not in charge of such things. 18. For Your Eyes Only This song and sequence are notable only because they ushered James Bond into the 1980s with plenty of appropriate glam and glitter, and because Sheena Easton appeared in the opening sequence.

Otherwise there’s not much else to say. 17. The Living Daylights Remember A-Ha, better known as “that Norwegian band who did Take on Me”? Well, they had another hit song two years after their award-winner: the theme to Timothy Dalton’s on-screen debut as James Bond. It’s a nice synthed-out dance number, perfect for 1980s 007, but the visuals look like the director just turned on the camera, told the naked girls to writhe around, and then went to lunch. A little effort, people! (Bonus factoid: Joe Don Baker appears in this film, many years before his turn as a CIA operative in Goldeneye).

The Top 20 Best James Bond Theme Songs | The Huffington Post The Top 20 Best James Bond Theme Songs 10/18/2012 06:44 pm ET | Updated Dec 18, 2012 Xaque Gruber Writer 2012 marks the 50th anniversary of James Bond's cinematic debut, and is proving to be a banner year for the iconic franchise with the highly anticipated feature, Skyfall (November 9) as well as the release of Best of Bond, Capitol's expansive CD set spanning a half-century of remastered 007 music. As a Bond music fanatic, I've chosen to celebrate this anniversary by carefully re-listening to each showstopper. Here are my picks of the top 20 most compelling vocal productions in the James Bond pantheon of anthems... 1. "Goldfinger" -- Shirley Bassey (Goldfinger, 1964) When it comes to 007 themes, Goldfinger is the gold standard, setting the stage for every epic musical notion in the franchise to follow, and accomplishing this all in under two minutes and 50 seconds.

Unlike most Bond themes, this is the antagonist's anthem, and it couldn't conquer in grander style. Opening with an inpenetrable wall of blaring horns to the ultimate climax: six glass smashing seconds of the word "gold" as torpedoed by Shirley Bassey's lethal weapon of a voice, the song is a movie unto itself. 2. "Nobody Does It Better" -- Carly Simon (The Spy Who Loved Me, 1977) A soaring love song about James, the man, and not about the movie storyline, Simon's Oscar-nominated powerhouse ballad broke the mold. Seamlessly building from the first tinkling of a piano key to one of pop history's most lusciously layered vocal finales, Simon belts it at her heartbreaking best, and the result was a timeless, larger than life smash that stretched beyond typical Bond territory. 3. "Live & Let Die" -- Paul McCartney & Wings (Live & Let Die, 1973) McCartney reunited with Beatles producer George Martin and landed one of his biggest hits. Immense in scale, Live & Let Die, is a rocking pyrotechnic thrill ride that (like "Nobody Does It Better") peaked at No.

2 on Billboard's charts, and scored a Best Song Oscar nomination. 4. "A View to a Kill" -- Duran Duran (A View to a Kill, 1985) Featuring a 60 piece orchestra, this collaboration between the biggest British band of the 1980s and composer John Barry was the only Bond theme to reach No. 1. The song was also the last time the five original members of Duran Duran recorded together until they reunited 16 years later. 5. "Diamonds Are Forever" -- Shirley Bassey (Diamonds Are Forever, 1971) Miss Bassey returned to belt out the grandiose theme for Connery's final official Bond picture. Producer Harry Saltzman objected to the lyrics' sexual innuendo, but thankfully co-producer Cubby Broccoli insisted the song remain in the film. In 2012, Bassey sang this gem for Queen Elizabeth's Diamond Jubilee. 6. "You Only Live Twice" -- Nancy Sinatra (You Only Live Twice, 1967) Scared to death of recording a Bond song, Sinatra was so nervous that composer John Barry said the final version used 25 different takes.

The result: a lush, wistful ballad, famed for its striking (and widely sampled) velvety opening bars of high octave violins and French horn in an Oriental flavor. 7. "Skyfall" -- Adele (Skyfall, 2012) Just out of the starting gate and already an international chart hit, sultry Skyfall is one of Bond's best, co-written and recorded by Adele with a 77 piece orchestra. It's poised to become the first Bond song ever to collect an Academy Award for Best Song. 8. "Goldeneye" -- Tina Turner (Goldeneye, 1995) When Goldeneye was released, the Bond franchise had been dormant for six years, and this showstopper (written by U2's Bono and The Edge especially for Turner) was the shot in the arm it needed. Turner and producer Nellee Hooper pulled out all the stops in Shirley Bassey-esque femme fatale grandeur. 9.

"From Russia With Love" -- Matt Munro (From Russia With Love, 1963) One year before Bassey redefined the Bond anthem with Goldfinger, 007's first title vocal belonged to romantic crooner, Matt Munro. Sans histrionics and clever effects, this is the smoking jacket of Bond songs, and a classic that holds up beautifully, thank you very much. 10. "Thunderball" -- Tom Jones (Thunderball, 1965) Singing like his life depends upon it, Jones was recruited at the very last minute to record Thunderball after Shirley Bassey, Dionne Warwick and Johnny Cash, (who had all submitted songs for the film) were rejected. True to its name, this is a bold, campy recording that packs a walloping punch. 11. "The World Is Not Enough" -- Garbage (The World Is Not Enough, 1999) With a sweeping chorus to rival the best of 007's themes, Shirley Manson and company's noir-ish contribution to the Bond music pantheon is a sexy, brooding, gorgeous marriage of electronic and orchestral. Garbage was an inspired choice that delivered. 12.

"You Know My Name" -- Chris Cornell (Casino Royale, 2006) This hardest rocking of Bond themes found Cornell's energetic, growling vocal, the perfect, high-testosterone choice to capture the fresh, fiery spirit of the franchise's best Daniel Craig-era film. 13. "Another Way to Die" -- Jack White & Alicia Keys (Quantum of Solace, 2008) Pairing (two very different) recording artists paid off with a driving, innovative composition that many were quick to criticize, but purists be damned, Another Way to Die is a multi-layered, striking, bold piece of work. 14. "Where Has Everybody Gone?" -- The Pretenders (The Living Daylights, 1987) Chrissie Hynde created two stellar (and vastly different) tracks to The Living Daylights soundtrack, including this blazing, brassy rocker -- which had more kick than the official theme (see No. 18). 15.

"For Your Eyes Only" -- Sheena Easton (For Your Eyes Only, 1981) Big, and pop radio-ready, Easton's yearning delivery wrapped in shimmering Close Encounters-esque synth flourishes, snared Bond's last Best Song Oscar nom. 16. "If There Was a Man" -- The Pretenders (The Living Daylights, 1987) Chrissie Hynde's tender throwback to Bacharach, is one of Bond's warmest, and most underrated ballads. 17. "Surrender" -- k. d. lang (Tomorrow Never Dies, 1997) Originally supposed to open Tomorrow Never Dies, Lang's soaring, torchy aria was moved to the final credits in favor of Sheryl Crowe's anemic title contribution. 18. "The Living Daylights" -- a-Ha (The Living Daylights, 1987) A-Ha's underappreciated contribution glides along a briskly paced, stylish, sophisticated arrangement blending Bond motifs with Morten Harket's lilting tenor to rousing 'Big 80s' effect. 19.

"License to Kill" -- Gladys Knight (License to Kill, 1989) Knight's rich honeyed voice ranks as Bond's most soul-drenched, aided by the Goldfinger-esque embellishments that help the song rise above the some of the now dated-sounding late-'80s R&B production. 20. "All Time High" -- Rita Coolidge (Octopussy, 1983) While most Bond artists attempt to rip the roof off, Coolidge, bathed in sax and strings, took the opposite approach delivering the most relaxed vocal in 007 history to seductive, almost ethereal effect scoring the franchise a Top 40 hit in the process. Honorable mentions: "Mr.

Kiss Kiss Bang Bang," Dionne Warwick (Thunderball, 1965), "We Have All the Time in the World," Louis Armstrong (On Her Majesty's Secret Service, 1969) More: Linn Records - Shirley Bassey Linn Records Create Account >> Shirley Bassey Dame Shirley Bassey is a Welsh singer who rose to fame in the mid 1950s and is best known for recording the themes to the James Bond films ‘Goldfinger', ‘Diamonds Are Forever' and ‘Moonraker'. Shirley Bassey was born in Tiger Bay, Cardiff, Wales, and raised in the nearby working class neighbourhood of Splott. Her mother was originally from Yorkshire, and her father was a Nigerian seaman who left the family when she was less than two. She later helped to support her family by working in an Enamelware factory. In 1953, Bassey signed her first professional contract, to sing in a touring variety show Memories of Jolson, a musical based on the life of Al Jolson. She next took up a professional engagement in Hot from Harlem, which ran until 1954.

By this time Bassey had become disenchanted with show business, and had become pregnant at 16 with her elder daughter, Sharon so she went back to waiting tables in Cardiff. In 1955, a chance recommendation to Michael Sullivan, a booking agent, put Bassey firmly on course for her destined career. He saw talent in Bassey, and decided he would make her a star. She toured various theatres until she was seen by Jack Hylton whose interest in her put her firmly on the road to stardom. He invited her to star in Al Read's Such Is Life at the Adelphi Theatre in London's West End. During the show's run, Philips A&R and record producer Johnny Franz spotted her on television, was impressed, and offered her a recording deal. Bassey recorded her first single, entitled ‘Burn My Candle', and Philips released it in February 1956, when Bassey was 19. Owing to the suggestive lyrics, the BBC banned it, but it sold well nonetheless, backed with her powerful rendition of ‘Stormy Weather'.

Further singles followed, and in February 1957, Bassey had her first hit with ‘The Banana Boat Song', which reached No. 8 in the UK Singles Chart. During that year, she also recorded under the direction of American producer Mitch Miller in New York for the Columbia label, producing the single ‘If I Had a Needle and Thread' and ‘Tonight My Heart She Is Crying'. She then travelled to Las Vegas to make her American stage début at El Rancho Vegas. In mid 1958, she recorded two singles that would become classics in the Bassey catalogue. ‘As I Love You' was released as the B-side of another ballad, ‘Hands Across the Sea'; it did not sell well at first, but after a chance appearance at the London Palladium things began to pick up. In January 1959, it reached No. 1 and stayed there for four weeks. It thus became the first number 1 single by a Welsh artist. Bassey also recorded ‘Kiss Me, Honey Honey, Kiss Me' at this point, and while ‘As I Love You' raced up the charts, so too did this record, with both songs being in the top three at the same time.

A few months later, Bassey signed to EMI's Columbia label, and the second phase in her recording career had begun. In the early and mid 1960s, Bassey had numerous hits on the UK charts, and five albums in the Top 15. Her 1960 recording of ‘As Long As He Needs Me' from Lionel Bart's Oliver! reached No. 2, and had a chart run of 30 weeks. On 13 November 1960, Bassey made her début performance on American television, appearing on The Ed Sullivan Show. In 1962, Bassey's collaboration with Nelson Riddle and his orchestra produced the album Let's Face the Music (No. 12) and the single ‘What Now My Love' (No. 5). Other Top Ten hits of the period included her second No. 1, the double A-side ‘Reach for the Stars'/'Climb Ev'ry Mountain' (1961), ‘I'll Get By' (also 1961), and a cover version of the Ben E. King hit ‘I (Who Have Nothing)' in 1963.

During this period, Bassey appeared on the cover of Ebony magazine, and sang at a Washington gala celebrating the end of President Kennedy's second year in office. In 1965, Bassey enjoyed her only U.S. Top 40 Billboard Hot 100 hit with the title song of the James Bond film, Goldfinger. The single peaked at No. 8, while the original soundtrack of Goldfinger hit No. 1 in the U.S. that same year. Also in 1965, she sang the title track for the spoof James Bond film The Liquidator, and had a Top 20 live album recorded during a sell-out run at London's Pigalle. From 1964 onwards the ‘Goldfinger' single had a lasting impact on her career: writing for the sleeve notes of Bassey's 25th Anniversary Album, Clayton (1978) notes that: ‘Acceptance in America was considerably helped by the enormous popularity of (‘Goldfinger')...But she had actually established herself there as early as 1961, in cabaret in New York.

She was also a success in Las Vegas...'I suppose I should feel hurt that I've never been really big in America on record since ‘Goldfinger'...But, concertwise, I always sell out.'...' This was reflected in the fact that Bassey had only one solo LP to reach the Top 20 in a US chart (R&B, Live at Carnegie Hall), and she was technically a one-hit wonder, making only one appearance in the Top 40 of the Billboard Hot 100, ‘Goldfinger'. But in the aftermath of ‘Goldfinger' her UK sales started to falter as well: only two of her singles would enter the UK Top 40 until 1970. She had signed to United Artists, and her first album on that label, 1966's I've Got a Song for You, spent one week on the chart; from there until 1970, only two albums would chart, one of those a compilation. In 1967 came the release of one of her best-known singles ‘Big Spender', although it charted just outside the UK Top 20.

Bassey started living as a tax exile in 1968, and was not permitted to work in Britain for almost two years. Also in 1968, at the Sanremo Festival in Italy, she performed ‘La vita', an Italian song by Bruno Canfora and Antonio Amurri, with some lyrics re-written in English by Norman Newell for her performance. Her version of the song with chorus sung in Italian became a Top 40 hit on the Italian chart, and Bassey recorded several songs in Italian, some appearing on a 1968 Italian album titled La vita. Bassey's UK comeback came in 1970, leading to one of the most successful periods of her career. In that year, she returned to the UK with a record breaking run of performances at the Talk of the Town nightclub. Also in that year, she released the album Something, which showcased a new Bassey style, a shift from traditional pop to more contemporary songs and arrangements (the single of the same name was more successful in the UK charts than the original Beatles recording - the only artist to have achieved this), though Bassey would never completely abandon what had been her forte, standards, show tunes, and torch songs.

‘Something' was also a Top 10 U.S. hit on the Adult Contemporary chart. Other singles of this period included the top ten hit ‘Never Never Never', an English version of the Italian ‘Grande grande grande', reaching the Top 10 in the U.S. Adult Contemporary Chart, the UK Top 10 and number one in Australia and South Africa. The success of ‘Something' (single No. 4, album No. 5) spawned a series of successful albums on the UA label, including Something Else (1971), And I Love You So (1972), I Capricorn (1972), Never Never Never (1973), Good, Bad but Beautiful (1975), Love, Life and Feelings (1976), You Take My Heart Away (1977) and Yesterdays (1978). Bernard Ighner wrote and duetted with Bassey for the track ‘Davy' on the Nobody Does It Like Me album (1974).

Additionally, two of Bassey's earlier LPs entered the charts, 1967's And We Were Lovers (re-issued as Big Spender), and 1962's Let's Face the Music (re-issued as What Now My Love). Two compilations, The Shirley Bassey Singles Album (1975) and 25th Anniversary Album (1978) both made the UK top three: The Shirley Bassey Singles Album her highest charting album at number two and earning a gold disc, and 25th Anniversary Album going platinum. Between 1970 and 1979, Bassey had 18 hit albums in the UK Albums Chart. Her 1978 album The Magic Is You featured a portrait by the photographer, Francesco Scavullo. In 1973, her sold-out concerts at New York's Carnegie Hall were recorded and released as a two-LP set, Shirley Bassey: Live at Carnegie Hall. This album and the majority of her recordings from this period have been re-mastered and released on CD by EMI and BGO Records. In 1971, she recorded the theme song for Diamonds Are Forever.

The recording was featured as part of Sydney, Australia's 2007 New Year's celebration. Bassey appeared on the Morecambe and Wise Christmas Show, broadcast on Christmas Day in 1971. In 1976, Bassey starred in the six-episode The Shirley Bassey Show, the first of her television programs for the BBC, followed by a second series of six episodes in 1979. The final show of the first series was nominated for the Golden Rose of Montreux in 1977. The series featured guests including Neil Diamond, Michel Legrand, The Three Degrees and Dusty Springfield; filmed in various locations throughout the world as well as in the studio. Bassey closed out the decade with her third title theme for the Bond films, Moonraker (1979). Throughout most of the 1980s, Bassey focused on charitable work and performing occasional concert tours throughout Europe, Australia, and the United States, having ended her contract with EMI-United Artists and taking what she referred to as ‘semi-retirement'.

In 1982 Bassey recorded an album entitled All by Myself and made a TV special for Thames Television called A Special Lady with guest Robert Goulet. In 1983 she recorded a duet with Alain Delon, ‘Thought I'd Ring You', which became a hit single in Europe. Bassey was now recording far less often but released an album in 1984 of her most famous songs, I Am What I Am, performed with the London Symphony Orchestra conducted by Carl Davis. In 1986, she released a single and video to support the London Tourist Board, ‘There's No Place Like London', co-written by Lynsey de Paul and Gerard Kenny. In 1987 she recorded an album of James Bond themes, The Bond Collection, but was apparently unhappy with the results so she declined to release it. (Five years later it was released anyway, Bassey sued in court, and all unsold copies were withdrawn). In the 1998 film Little Voice, Bassey was one of three central figures along with Marilyn Monroe and Judy Garland, and Bassey's track ‘Goldfinger' featured in the movie.

Jane Horrocks, the lead actress in the film, went on to impersonate Bassey both on record and television, as well as during a UK tour. In 2001, Bassey was principal artiste at the Duke of Edinburgh's 80th Birthday celebration. On 3 June 2002 Shirley Bassey was one of a prestigious line up of artists including Elton John, Paul McCartney, Queen, The Corrs, Annie Lennox, Eric Clapton, Tony Bennett, Cliff Richard, Joe Cocker, Rod Stewart, Ricky Martin, Phil Collins and Tom Jones who performed at the Queen's 50th Jubilee Party at Buckingham Palace. Then, in 2003, Bassey celebrated 50 years in show business, releasing the CD Thank You for the Years, which was another Top 20 album. A gala charity auction of her stage costumes at Christie's, Dame Shirley Bassey: 50 Years of Glittering Gowns, raised £250,000 (US$500,000) for the Dame Shirley Bassey Scholarship at the Royal Welsh College of Music and Drama and the Noah's Ark Children's Hospital Appeal.

Bassey topped the bill at the 2005 Royal Variety Performance, introducing her new song ‘The Living Tree'. In 2009, Bassey recorded the album, The Performance, with James Bond composer David Arnold as co-producer (with Mike Dixon). A number of artists wrote songs expressly for Bassey, including Manic Street Preachers, Gary Barlow, KT Tunstall, Pet Shop Boys, Nick Hodgson of the Kaiser Chiefs, John Barry and Don Black.

Question: Which singer is the only one to record three James Bond themes?
Answer: SHIRLEY BASSEY