Divas Are Forever! The Other Bond Girls

Last weekend Skyfall had the best opening weekend ever for a James Bond movie, frustratingly here in the US we have another week to wait before we can once more wallow in the glamour, action and excitement that is synonymous with Bond. Similarly intertwined with this longest running of all film franchises is the music that has become as much a symbol of Bond as martinis, gadgets and girls. My love affair with Bond goes back to childhood and it has as much to do with the songs as it does with the movies. Like many impressionable young gays, something was shaken, if not stirred when I first head Shirley Bassey utter the immortal word "Goldfinger".

Like the movies themselves, the music of Bond has had its ups and downs, with some themes becoming iconic while others have been, well, moronic. Although boys are sometimes allowed to sing for Bond, it is only when the divas are unleashed that true magic is made (with honourable mentions for Simon Le Bon and Morten Harket). In this 50th anniversary year and with Adele returning the Bond theme to glory it seems right to celebrate the many female artists that have performed for Queen and country: here then is my countdown of the best and worst of the Bond divas.

21 - Under The Mango Tree: Diana Coupland (Dr. No, 1962)

Think you know who the first woman to sing a Bond theme was? Then think again. It was in fact Sid James' TV wife from the 70's British sitcom Bless This House, the lovely Diana Coupland. She happened to be married to Monty Norman, the composer who created the iconic James Bond Theme and oversaw the score for the first Bond movie, Dr. No. Ms Coupland had a sideline going of dubbing the singing voices for actresses who were vocally challenged and so it is her, not Ursula Andress who is trilling this lovely little number on the beach. Uncredited at the time, I am happy to rectify this and let Diana take her place in posterity.

20 - Another Way To Die: Jack Black & Alicia Keys (Quantum Of Solace, 2008)

Admittedly this is only half diva, but for completeness' sake I have to include it. It is understandable that with a lot to prove the first two Bond movies with Daniel Craig were serious affairs, but I'm glad that the warmth and humour that are intrinsic to Bond make a reappearance in Skyfall. Sadly this serious air carried over to the themes for Casino Royale and Quantum Of Solace. This was meant to be Amy Winehouse's Bond theme, but in a sign of the tragedy to come she just couldn't get it together in time. In light of that it is hard not to feel shortchanged by this rather weak effort. This is the first Bond theme to be rapped rather than sung. For me, this just doesn't work. Every time I hear it, it feels like the first time - it's that forgettable. It's truly tedious and charisma free. Maybe in twenty years time Alicia will get a proper go at a big Bond ballad, once she's no longer so worried about being hip (do the kids still use that word?).

19 - If There Was A Man/Where Has Everybody Gone?: The Pretenders (The Living Daylights, 1987)

Although they lost out to a-ha for the title theme, Chrissie and co did get to contribute two songs for Timothy Dalton's debut as Bond. If There Was A Man is a simple ballad, that marked the first time a different theme was used for the end credits. It never quite gets going, though Chrissie sings it with feeling. This contrasts with the wacky Where Has Everybody Gone? which features briefly in the movie. It sounds like Chrissie was having a mental breakdown and someone left the tape recorder running. It has a certain quirky charm, but overall these efforts are a bit of disappointment; Chrissie has the chops to be a major Bond diva, but not with material like this.

18 Tomorrow Never Dies: Sheryl Crow (Tomorrow Never Dies, 1997)

Oh dear, oh dear, oh dear. Where to begin? It is hard to believe that new Bond music producer David Arnold held a competitive process for the honour of providing the main theme for Pierce Brosnan's second outing as MI6's finest. Were the efforts by Saint Etienne, Pulp, Marc Almond and others worse than this? We know there was one song that was perfect for the job (of which more later), but nonetheless this monstrosity won the day. Sheryl Crow is a fine artist, I'm partial to a great deal of her music, but on this evidence she is not a great vocalist. This is hardly the most rigorous Bond theme to sing, yet Sheryl barely staggers through the high notes; it is painful. The song is also really boring, even Dame Shirley would have struggled to breathe life into this one. For shame.

17 Do You Know How Christmas Trees Are Grown?: Nina (On Her Majesty's Secret Service, 1969)

Poor George Lazenby, he wasn't all that bad. Oh, and Dame Diana Rigg as a Bond girl (swoon). This festive number is a slightly bizarre entry in the Bond canon, but charming in its own way. A collaboration of Bond maestro John Barry, the man responsible for making music central to the Bond movies, and the legendary lyricist Hal David. You will know their other collaboration from the movie, We Have All The Time In The World, made famous of course by the great Louis Armstrong in his final recording. European folk singer Nina is joined by a chorus of children (don't run screaming just yet) and at first listen it can feel a tad cloying, but once you allow yourself to embrace it as high camp, what's not to love? It also has a great lyric that captures the essence of a good sing-a-long Christmas anthem. Oddest Bond song for sure.

16 Moonraker: Shirley Bassey (Moonraker, 1979)

Without question John Barry is responsible for creating a whole genre of music with his soundtracks for Bond, but in the public imagination there is one singer who both defines and is defined by her Bond themes; Dame Shirley Bassey. However this effort, her fourth (yes fourth, you'll see) and final to date is far from her best, but that is hardly her fault. Legend has it that this was offered first to Kate Bush who turned it down because she was "too busy". In reality she probably fell asleep while listening to the demo and was too embarrassed to admit it, so passed. Then Johnny Mathis landed the job and recording commenced, only for him to drop out unexpectedly before completion. The trouper she is. Shirley stepped in just weeks before the movie was set to premiere, no doubt as a favour to Barry. La Bassey never held much affection for the track, feeling it didn't really belong to her. Not a bad song, but not a classic and a waste of a good Shirl.

15 All Time High: Rita Coolidge (Octopussy, 1983)

In a fever dream I once imagined a song called Octopussy sung by a sequined Donna Summer. It had the appropriate amounts of brass, belting and bravissimo and Donna was straddling a disco ball while Bond girls danced beneath her. Sadly it was but a dream and instead we have this slab of MOR. It's perfectly pleasant and beautifully sung by Rita Coolidge, but it is not a Bond theme in my book. There is no drama, no tension. Oh well. At least we have the 80s-tastic single sleeve to bring a smile to our lips.

14 Die Another Day: Madonna (Die Another Day, 2002)

I have a love/hate relationship with this one. There are bits that are magic, cool and edgy and Bondish, but there is also much that is lazy and unintentionally hilarious ("Sigmund Freud... analyze this", for example, and those peculiar grunts). It does feel like Madge knocked it off on her tea break, she was probably more focused on doing some proper acting in her rather forced cameo appearance in the movie. Imagine my excitement when I heard Madonna was doing the Bond theme, then picture my face when I heard it. Undoubtedly the biggest letdown in Madonna's career and yes, I'm including Swept Away.

13 For Your Eyes Only: Sheena Easton (For Your Eyes Only, 1981)

Having originally offered Blondie the chance to write the theme song, the producers eventually went with this song by the film's composer, Bill Conti. It is a little bland for my liking, though Sheena Easton sings it like her life depended on it. She also has the honour of being the only artist to perform her song in the title credits. There are some nice musical flourishes here and there, but the song never quite achieves lift off. Still Sheena doesn't grunt in it, so it slips ahead of Madonna in this countdown.

12 If You Asked Me To: Patti LaBelle (Licence To Kill, 1989)

I have a soft spot for Timothy Dalton's Bond, I know he's not many people's favourite, but I thought he nailed the part. This gem is from the end credits of his second and sadly final outing, Licence To Kill. First it is written by the divine Diane Warren, who seems to channel her inner Bond girl in the plaintive lyric, vainly hoping for a future with Mr Bond. Second, it is sung to perfection by the uniquely gifted Patti LaBelle, who showcases her singular charms throughout. It is a travesty that this did not become a huge international hit for Patti, although you can't blame Celine Dion for stealing it a few years later. For me though this will forever be Patti's song. This was the great Michael Kamen's only Bond soundtrack and with this and the title song he ensured it became one of the most memorable.

11 Mr. Kiss Bang Bang: Shirley Bassey/Dionne Warwick (Thunderball, 1965)

After the enormous success of Goldfinger it was inevitable that Bond's producers would want to repeat that formula for their next outing and that included trying to mirror the iconic title track. The original theme for Thunderball was the amusingly titled Mr. Kiss Kiss Bang Bang, which was a phrase coined by an Italian journalist when describing the character of Bond. John Barry pretty much copied the template of Goldfinger, from the brassy intro to the dramatic crescendos, but this time the song lauds the hero rather than the villain. The song was originally recorded by Shirley Bassey, who gives a highly stylised performance, lacking the finesse of her prior turn. Barry was clearly unhappy with the results and so asked Dionne Warwick to take a turn. Dionne sings it straighter, giving it a more pop feel, the arrangement is also more sophisticated on this version. All of this effort was in vain though, as United Artists asked for the song to be replaced, as they felt the theme really should include the film title. Barry was not impressed, he'd deliberately avoided writing a song called Thunderball, thinking the term too vague for a successful lyric. All of which explains why Tom Jones' ultimate theme for the movie seems a little weak, as it was both written and recorded in a rush. Such a shame that this vintage piece of Bond music never made it to the final cut, though the melody recurs throughout the score. It is also regretful that both Shirley and Dionne's recordings did not see the light of day for nearly three decades. However, we have them now and so we can wallow in the wonderfully cheesy lyrics and dream of what might have been.

10 The World Is Not Enough: Garbage (The World Is Not Enough, 1999)

Bond's other Shirley, the delightful Miss Manson and her band Garbage gave a perfectly chilling performance on this slice of classic Bond. This could not be anything but a James Bond theme, the lyrics are erudite, the melody is suspenseful and the production is flawless. After the misfire with Tomorrow Never Dies David Arnold, who after John Barry is Bond's most natural composer, redeemed himself with this effort. This also has to be the best music video made to accompany a Bond theme, with Shirley being replaced by a deadly android, it is like a mini-movie in its own right.

9 The Man With The Golden Gun: Lulu (The Man With The Golden Gun, 1974)

While Bond themes are synonymous with sophistication and suspense they are also, at their best, ever so slightly camp. That is apart from this cracker from Lulu, which is top-to-bottom camp. In fact it's hard to believe this is from a real Bond movie and not some spoof, as the lyrical innuendos have rarely been this upfront. From the opening "He's got a powerful weapon" to the incredible bridge "his eye may be on you or me, who will he bang? We will see..." Lulu delivers it with gusto, proving she has one of the most powerful voices ever to come out of a white woman. It probably ties Goldfinger for establishing the idea of Bond themes as high camp and it is a cheeky little minx, much like its singer.

8 Surrender: k.d. lang (Tomorrow Never Dies, 1997)

Imagine a world where this was the title theme for Tomorrow Never Dies, that world would have no war, endless summer and donuts would be calorie free. Sadly we live in this world and Sheryl Crow's travesty was picked over this gem. k.d. is one of the finest vocalists that has ever lived and on this she proves that she was born to sing Bond. If you left the cinema when the end credits started and you've never heard this luxurious, fabulous song in all its glory then you are missing one of the true delights of the Bond canon.

7 GoldenEye: Tina Turner (GoldenEye, 1995)

You might find it hard to believe this is effectively a U2 song, composed by Bono and The Edge. It is a perfect pastiche of a Bond theme and I mean that affectionately, as it is clearly written with a great deal of love and affection for Bond music. Launching a new actor as Bond is always a tense affair and it is important that the producers give them every chance to succeed. I believe this loving recreation of a classic Bond theme was the perfect scene-setter for my personal favourite Bond, the delicious Pierce Brosnan, who was the first since Connery to successfully encapsulate all aspects of Bond's persona. It also has one of the greatest vocals of any Bond theme, Tina is triumphant, especially at the crescendo where her voice does something quite remarkable with the word "GoldenEye".

6 You Only Live Twice: Nancy Sinatra (You Only Live Twice, 1967)

With the movie's Japanese setting, John Barry sought to include eastern motifs in the themes for this outing, creating a unique sound for this memorable Bond classic. An initial theme to be sung by Julie Rogers was abandoned and the very trendy Nancy Sinatra was co-opted instead to sing a new song. While many Bond themes become timeless, this one for me will always summon up images of the sixties; a decade that was cool, swirly and wore kinky boots. With the most gorgeous refrain of any Bond song, it has been sampled a number of times,including most memorably on Robbie Williams' Millennium. Nancy does a commendable job of singing within herself, despite her reported nerves and twenty-five takes. She also recorded a pop version of the song, which reached number 11 in the UK charts and made the Billboard top fifty.

5 Skyfall: Adele (Skyfall, 2012)

I was beginning to worry about the future of the Bond theme after the last few troubling attempts at making them "cool". Thank Fleming that the producers have finally seen sense and gone back to basics for the latest movie: a strong song with all the required elements sung by a great singer. They don't come much greater right now than Adele, with her sterling performance on this track she has shown that there are even more layers to her majestic voice than we had yet heard. Adele and her songwriting partner Paul Epworth must have been channelling John Barry when they wrote it, the track could be from any of the last five decades, it is timeless and an instant classic. I almost wept in gratitude when I heard it: there is hope for the future of Bond music.

4 Goldfinger: Shirley Bassey (Goldfinger, 1964)

In many ways Bond began in 1964 when both the movie and the song Goldfinger solidified many of the elements that became icons of Bond. The third movie to be made, this time all the ingredients combined to create true magic and every Bond film since has been forced to live in its shadow. Written by John Barry with lyrics by Anthony Newley and Leslie Bricusse, Newley recorded the song himself initially and his version was considered for the movie. Enter Shirley Bassey. the red hot pop diva at the time, who basically eats the song alive. The brassy elements were to tie in with the gold themes of the film, but they have become synonymous with Bond themes (well the good ones) ever since. Who can fail to be thrilled at that opening blast of brass, then seduced by the gentle echo? Shirley gave us shades of vamp, victim and victor in her defining performance. What more is there to say? Perfection.

3 Licence To Kill: Gladys Knight (Licence To Kill, 1989)

It's getting tough to separate them at this stage, each of the these songs have been my favourite Bond theme at some point, but few have I gone quite so mental over than this one. It unashamedly borrows the theme from Goldfinger, but in a way that makes it feel like it was written for this song. It is also the longest Bond theme, clocking in at 5 mins 15 secs, owing to the seemingly endless crescendos, each more spectacular than the last. Gladys nearly out-Basseys Shirl on this one, I can't think of when she gave a stronger vocal, proving she has the power to go along with one of the greatest emotional voices of all time. This may be a bit OTT for some tastes, but it never strays over the line into parody, it is how a Bond theme from the 1980s should sound. Superb.

2 Nobody Does It Better: Carly Simon (The Spy Who Loved Me, 1977)

From the tinkling piano intro to the full-blown orchestral fade this song is three and a half minutes of sheer perfection. Composed by the late, great Marvin Hamlisch and with lyrics by the supremely talented Carole Bayer Sager, few Bond songs have such a formidable pedigree. The first not to be named after the film (though the title appears in the lyrics), this song is also one of the few that have arguably outgrown their role as a Bond theme. It has gone on to be used on the soundtrack to numerous other movies and has been covered and performed endlessly. A large part of the credit must go to Carly Simon, who was a brave choice by the producers to sing such a big song. Carly was the seventies cool chick, but she was known as a singer-songwriter and had not yet proven herself as a formidable interpreter of song. She has never sounded sweeter than on the opening measures and when she unleashes on the first verse and roars towards the song's climax it is a marvel to behold.

1 Diamonds Are Forever: Shirley Bassey (Diamonds Are Forever, 1971)

Though Goldfinger may get most of the attention, most Bond fanatics agree that this second outing by Miss Bassey is the greater achievement. Sophisticated, witty, breathtaking - words that are synonymous with Bond perfectly describe this amazing theme. Shirley's vocal is indescribably great on this, the song gives her the chance to unleash all the weaponry in her arsenal, from gentle purrs to earth shattering highs. The lyrics are a masterclass of metaphor, it is the bitter cynical sister to Diamonds Are A Girl's Best Friend. It has my favourite line in any Bond song "men are mere mortals who are not worth going to your grave for" - delivered with an appropriate snarl by Shirley. Allegedly Barry urged Shirley to imagine she was singing about a penis, armed with that knowledge you can never quite listen to the song in the same way again. This is the pinnacle of Bond themes and it is hard to see how it could be bettered, but who knows what Adele's second Bond theme may provide...

I hope you've enjoyed this trip through the wonders of the lady Bond themes and maybe you have made a few new discoveries or at least been reacquainted with some old friends. One thing is certain, James Bond will return.

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Golden Legacy: Dionne, Burt & Hal

Once Upon A Time in pop there were singers and there were songwriters. While these professions were not mutually exclusive, for most of the twentieth century the business model of pop centred around a necessary symbiosis of singers and the composers and lyricists who crafted the songs that would make or break their career. Often a special relationship would develop between a particular singer and songwriter and their careers and fortunes would become intertwined. The most remarkable example of this occurred when a young session singer called Dionne Warwick came to the attention of Burt Bacharach and Hal David, a songwriting partnership who were looking for a singer to record demos of their new compositions. Bacharach and David soon discovered that in Dionne they had found their perfect muse. She was able to sing anything they wrote, not just with technical perfection, but with emotion and meaning that was fresh and authentic.

For a ten-year period beginning in 1962, Dionne, Burt and Hal would chart 33 songs and record many, many more. My introduction to the magic they created came when I was 13 and bought a Dionne Warwick EP, which had six of their 1960s recordings. I fell in love with the intricate and complex melodies of the songs, the clever lyrics and Dionne's astonishing voice. I already knew Dionne from her huge 1982 hit album Heartbreaker, but I was only vaguely aware of Burt and Hal. This one little EP led me to search out as many recordings of Bacharach and David songs that I could find, and they are legion. I always love finding a new interpretation of one of their songs, but indisputably the definitive interpreter of Bacharach & David is Dionne Warwick. Here is the story of their remarkable run of success told through five of their biggest and most memorable hits.

Don't Make Me Over (1962)

The first song Dionne recorded for Bacharach & David was the emotional Make It Easy On Yourself. Dionne adored this love triangle tale and thought she had an agreement with Burt and Hal that it would be her debut solo single. However, the song ended up being released first by the cool crooner Jerry Butler, after his A&R man nabbed it for him. Dionne was furious and accused Burt and Hal of reneging on their agreement. They disagreed with Dionne's view that the song was hers, which led her to storm out shouting "don't make me over, man", sixties slang for "don't lie to me".

Dionne's passion sparked inspiration in Burt and Hal and they wrote her a song that was undeniably hers alone, Don't Make Me Over. Despite the misgivings of her label, who felt it was too downbeat, the song became Dionne's first hit single. Like many of Bacharach's melodies, Don't Make Me Over may appear to flow easily to the listener, but it is full of complexity. It has changing time signatures and challenging intervals that would defeat lesser singers. The majestic ease with which Dionne sings this classic tale of heartbreak announced her arrival as a formidable vocal talent and underlined what a singular talent Bacharach & David now had at their disposal.

Anyone Who Had A Heart (1963)

In the fifties and sixties it was not unusual to find competing versions of a song fighting it out for supremacy on the charts. The relationship between artist and material was much more fluid than it is now, harking back to the days when popular music was disseminated by sheet music rather than recordings. Dionne had already suffered frustration at losing "her" song to Jerry Butler, but that would pale into insignificance when compared with her fury when her next hit was hijacked from under her.

Burt, Hal and Dionne were meeting up regularly during 1963 to develop material for Dionne's second album. Burt was beginning to write melodies specifically for Dionne, claiming he heard her voice in his head as he composed. During one session Dionne heard a part-finished song and was so taken with it she demanded Burt and Hal finish it immediately. The song, Anyone Who Had A Heart, boasted another intricate Bacharach melody, with meter shifts from 3/8 to 6/8 to 5/4. Hal's poetic and direct lyric was delivered by Dionne with plaintive honesty. The song became her first top ten hit in the US and even picked up buzz overseas. She was convinced this was the track to launch her internationally.

Unfortunately for Dionne, Brian Epstein heard her version on a trip to the US and on his return to the UK he gave a copy of her single to George Martin. While George thought it would make a great song for Shirley Bassey, Brian was adamant that it should go to his own artist, Cilla Black. Their version was released before Dionne's label could get organised and it went to number one in the UK. Dionne was livid and even today remains bitter about this alleged theft. UK listeners were definitely robbed of the superior version; Cilla possesses little of Dionne's technical skills and her harsh crescendos are a poor substitute for Dionne's subtle tones. This travesty lit a fire under Dionne and she wanted to make certain it would not happen to her again.

Walk On By (1964)

Recorded at the same session as Anyone Who Had A Heart, Dionne's next single would finally launch her as an international star. Walk On By is simply sublime and, in my opinion, one of the most perfect pop songs ever written. Dionne delivers a breezy vocal on the choppy, syncopated verses, which belies the tragedy of the lost love she is trying to conceal. The song effortlessly shifts into a smooth, stretched-out chorus and here Dionne employs a sorrowful control in an effort to contain her heartache. Rarely has a melody, a lyric and a voice combined so flawlessly, it is a masterclass in creating a pop song.

The single gave her back-to-back top ten hits in the US and this time Dionne forced her UK label to rush-release her version. It was just as well as Helen Shapiro was already getting ready to release yet another cheeky cover. Finally UK listeners got to hear the original Dionne magic and Walk On By became her first UK hit, reaching number nine. This piece of perfection is my favourite Bacharach & David song and comfortably in my all-time top ten. Sadly Dionne's UK record label Pye were famed for their inept organisation and their poor distribution and promotion meant she failed to fully capitalise on her breakthrough and the copycats continued to plague her.

I Say A Little Prayer (1967)

You'd be forgiven if you were not aware that the original hit version of this classic song was Dionne's; in fact it was her biggest Bacharach & David single in the US. The version that captured public consciousness was released by the Queen of Soul, Aretha Franklin. However, Aretha's version is substantially different to Dionne's, being a looser, more soulful take on the song, repeatedly straying from the complex composition that Burt and Hal had created. Some unkind commentators have suggested that some of these changes were prompted because Aretha couldn't technically sing the song the way it was written; I find that a little far fetched. It is probably more likely that Aretha didn't "feel" the song in its original arrangement and wanted a less structured sound.

Whatever the reason for Aretha's musical liberties, Dionne's version for me is the authentic Bacharach & David recording. Burt famously disliked the original, even trying to block its release, believing the tempo was too fast. Far be it from me to disagree with the legend, but I love the pop feel of Dionne's version and the "Forever, Forever" line in the chorus lends itself well to a more frantic delivery, matching the slight desperation in the rest of the lyric. Once again Dionne sounds effortless as she leaps octaves and chases time signatures, I love the way she playfully echoes the horn part in the break. A very fine performance of a very fine song.

Do You Know The Way To San Jose (1968)

Despite its bright melody and jaunty delivery, Do You Know The Way To San Jose tells the forlorn tale of someone who came to LA with dreams of stardom, but who is returning home a failure. This was part of Hal David's genius, subverting the expected and cleverly constructing whole life stories in under three minutes. Dionne was initially dismissive of the song, thinking it trite, but she soon changed her tune when it gave her only her second UK top ten hit of the sixties. It also gave Dionne her third consecutive top ten hit in the US, her longest run of success, and became her first Grammy win. This has always been one of my favourite Bacharach & David songs and, of course, Dionne's version is definitive.

This recording was the last the team made at Bell Studios in New York, where Dionne, Burt and Hal had started out together in 1962. It also marked the highpoint in the success of the trio; as the decade turned, Burt found his inspiration drying up and his songwriting partnership with Hal began to disintegrate. A legal tussle over royalty irregularities found the three parting company with Scepter in 1971. Dionne signed to Warners for a reported $5 million, the biggest advance a female artist had yet achieved. However, part of that deal was the understanding that Bacharach & David would continue to write and produce for her. Unfortunately Burt and Hal's partnership folded after an ill-fated movie musical, Lost Horizon, stretched their relationship to breaking point. Left in breach of contract, Dionne had no choice but to sue her musical mentors and partners or risk being sued herself. This acrimony was a sad end to such a brilliant and successful musical team. Happily the three would reconcile in later years and Dionne would even record new Bacharach compositions.

Very few catalogues in popuar music can rival  Bacharach & David and Dionne remains the definitive interpreter of their work. The ten years of collaboration between Dionne, Burt and Hal has left us one of the most golden legacies in pop.


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