Depart a Remark
If you get to virtually six a long time of historical past in a franchise like James Bond, the “what if” eventualities can pile up fairly a bit. Maybe one of many sneakiest corners that’s seen alternate historical past written and rewritten simply as rapidly is that of the songs that will virtually go on to change into Bond theme tunes. And whenever you’ve obtained names like Radiohead, Alice Cooper and even a number of 007 singer Shirley Bassey within the combine, the tales are sure to be wild.
For those who’re ready, it’s extremely recommended that you just make your self a pleasant, cool drink of your selection, as we’re going to run via some insane alternate themes to a few of your favourite James Bond movies. Simply you’ll want to sip in-between entries, as you wouldn’t need to waste a top quality tipple when the shock units in.
Radiohead, Spectre (2015)
Radiohead had two separate bites on the apple with the title tune for Spectre. With their pre-existing tribute to Bond themes, “Man Of Battle,” being rejected as a result of it wouldn’t be eligible for an Unique Tune nomination on the Oscars, a brand new observe was wanted. So, as an alternative of finishing their in-progress studio album, they put every thing on maintain and composed “Spectre.”
Each songs have been finally seen as too somber, and though Sam Mendes actually needed to make use of “Spectre” someplace within the movie, it simply didn’t match the sonic panorama already in play. As a substitute, Sam Smith’s “Writing’s On The Wall” grew to become the title observe for Spectre, and never solely went on to win the Oscar for Finest Unique Tune, but in addition induced a little bit of controversy amongst followers as as to if or not the music itself slot in with the movie. Although, if both Radiohead observe was to be thought-about an efficient contender for these honors, “Spectre” wins over “Man of Battle.”
Alice Cooper, The Man With The Golden Gun (1974)
Typically the ultimate theme chosen for a James Bond movie does work higher than the rivals that attempted to nab the honors. This positively isn’t the case with The Man With The Golden Gun, as we virtually obtained a rock and roll villain theme to go along with the movie’s opening credit, courtesy of Alice Cooper! If it wasn’t for a easy deadline difficulty, we’d have seen Cooper’s theme making historical past, with even Christopher Lee approving of the music himself.
As a substitute, the world noticed a theme music from Scottish pop star Lulu, with the movie’s title nonetheless remaining because the title. However this model of “The Man With The Golden Gun” could be very a lot a product of its period, with a really flashy ‘70s sensibility; proper right down to some selection innuendo pertaining to Mr. Scaramanga’s pre-kill habits. To suppose, we might have had a killer Alice Cooper observe within the 007 franchise’s historical past.
Dionne Warwick/Shirley Bassey, Thunderball (1965)
Radiohead’s huge double header for Spectre was predated by at the very least two different main examples of musical themes flying in all places earlier than a Bond movie. When it got here time to prepare dinner up a gap quantity for Thunderball, there have been two very totally different approaches at work earlier than deciding on Tom Jones’ banger of a theme; the primary of which noticed Bond theme music royalty go face to face with one other modern expertise of her day.
Each Shirley Bassey and Dionne Warwick recorded the unique theme tune, “Mr. Kiss Kiss Bang Bang,” with Bassey appearing as the unique vocalist, however with Warwick re-recording the tune as a result of scheduling conflicts. Have been the course of occasions to have progressed as meant, Dionne Warwick’s longer model of the tune would have been used. Nonetheless, seeing as Thunderball was apparently a magnet for attracting lawsuits, and Shirley Bassey was upset her model wasn’t going for use, neither model of “Mr. Kiss Kiss Bang Bang” can be heard for fairly a while.
Johnny Money, Thunderball (1965)
One other wild swing for the fences got here from none aside from The Man in Black himself, Mr. Johnny Money. Going extra simple with the title observe for Thunderball, the music’s title was precisely the title of the movie, and it was extra of a country-style rundown of the movie’s villainous plot. No offense to Mr. Money, and even Shirley Bassey and Dionne Warwick for that matter, however none of those different tunes beat Tom Jones’ belting ballad.
In Johnny Money’s variant, “Thunderball” appears like a tune that belongs at dwelling in a traditional Western. Which isn’t a nasty factor, as that’s positively the bread and butter of the Money songbook. However so far as James Bond villains are involved, the Jones music captured what ultimately grew to become the trademark swagger and doom that some Bond title themes have been recognized for.
Blondie, For Your Eyes Solely (1981)
Listening to Blondie’s crack at nabbing the title observe duties for 1981’s For Your Eyes Solely, one has to surprise how the hell lead singer Debbie Harry wasn’t thought-about for Bond Lady responsibility? Her perspective, in addition to that of her band’s title observe, would have slot in with the more durable edged perspective that this specific 007 outing was attempting to return to, and historical past solely vindicated their rejected theme just a few quick years later.
Contemplating we have been on the cusp of Bond getting a contemporary pop/rock act on board once more with 1985’s Duran Duran observe for A View to a Kill, Blondie’s model for For Your Eyes Solely might have soar began that development a lot earlier. Nonetheless, we have been nonetheless within the tail finish of ‘70s developments, and movie composer Invoice Conti’s type would have clashed a bit bit with Blondie’s uber fashionable observe. For the movie’s functions, Sheena Easton’s observe works higher; however don’t confuse that as labeling that tune because the superior observe.
Pet Store Boys, The Dwelling Daylights (1987)
Right here’s an attention-grabbing story: famed ‘80s duo the Pet Store Boys began to prepare dinner up a tune that will ultimately be was “This Should Be The Place I Waited Years To Depart,” in service of Timothy Dalton’s debut The Dwelling Daylights. And listening to what this music grew to become in its closing type, it will have been a hell of a follow-up to Duran Duran’s earlier work on Roger Moore’s swan music, A View to a Kill.
Sadly, when the band and the franchise producers clashed over artistic path, the Pet Store Boys left, and a-Ha took on the duties to show in “The Dwelling Daylights.” Whereas that theme music continues to be one of many high tier tunes from the entire canon of 007 themes, the Pet Store Boys’ tune not solely ties into the defection that kickstarts the movie’s plot, after a hell of a gap, it’s additionally steeped within the horny hazard James Bond has been recognized for. We misplaced a superior tune when “This Should Be The Place I Waited Years To Depart” did simply that, and in a shorter time span.
Ace of Base, Goldeneye (1995)
Whereas the selection of Swedish pop act Ace of Base may be one thing that causes James Bond followers to snort a bit bit, Goldeneye title observe “The Goldeneye” really sits at a tie with Tina Turner’s eventual victor. Actually, the distinction between the songs isn’t solely within the musical approaches, but in addition the thematic weight each songs are pulling. Ace of Base’s music pushes extra of a grand scope story, focusing extra bluntly on the change of political panorama within the ‘90s.
Regardless of solely current as a demo, which is as far the music obtained earlier than its unknown termination, “The Goldeneye” nonetheless works. However Tina Turner’s extra villain-focused music does have a giant blast of Bond theme panache due to her collaboration with songwriters The Edge and Bono, and it nonetheless does work. If the extra polished rewrite of that Ace of Base tune is any indication, which ultimately grew to become “The Juvenile,” we might have had one other seismic shift in 007 theme historical past.
okay.d. Lang, Tomorrow By no means Dies (1997)
Many songs entered into the competition to change into Tomorrow By no means Dies’ theme, however one contender had the duties locked down so tight, you continue to hear its melodic signature all through David Arnold’s debut rating within the James Bond canon. If it wasn’t for an eleventh hour substitute of the titular theme, sung by Sheryl Crow, okay.d. Lang’s “Give up” would have been the film opening single for Pierce Brosnan’s second outing.
The Crow music, on high of working the movie’s title into its completed product, continues to be a correct entry into the historical past of Bond songs, for certain. It’s a good looking, moody noir quantity in a collection that was nonetheless attempting to reinvent itself in a contemporary context. However “Give up” is, with out query, the music that ought to have opened the movie, fairly than be shifted to the ending credit. It’s a tribute to evil, with a scrumptious lyrical story that will have even made Elliot Carver cry proud, chilly bastard tears. That is the theme that obtained away, and the Thunderball-style confidence introduced inside doesn’t faux in any other case.
Muse, Skyfall (2012)
For those who by no means name your shot in life, you’re by no means going to get anyplace. Pop group Muse actually knew this, and particularly, drummer Don Howard was the shot caller on this case, as he thought the group’s single “Supremacy” from the album “The 2nd Legislation” ought to have completely been the theme to Skyfall. Invoking the spirit of Bond, each by title and within the content material of that music itself, it’s onerous to not agree. You’ll be able to even hear the 007 theme sneaking into the melody at instances; it’s that clear.
One might even say that the product that “Supremacy” is working with is unquestionably a David Arnold period James Bond music, and that’s each a blessing and a curse. With a brand new composer approaching board with Thomas Newman, and even the brass at Sony wanting a extra Shirley Bassey method for Skyfall’s huge opener, the truth that Adele was an in-house expertise in all probability sealed this resolution quicker than the pull of a set off. Whereas “Supremacy” is completely a Bond music, this wasn’t the appropriate film for that exact alternative.
These musical “what ifs” all carried their very own tunes when it got here to the 007 legacy, however be it both the incorrect timing, or simply not being the appropriate tune for the job, they didn’t make the grade. Examples equivalent to these are going to occur in a collection that has spanned as far and broad in tone because the James Bond legacy, however even with its missed alternatives, the collection manages to shine fairly brightly. It’s only a disgrace that, in some circumstances, what might have been is brighter than what really was.