It's the kind of song Eartha Kitt would have seemed like a better fit for—but, would have taken too far into camp. The song isn't terrible, just kind of boring as Crow is obviously far out of her comfort zone. Eartha Kitt recorded for RCA Victor Records from 1953 to 1957, an association that produced five albums and assorted singles.

On the other hand, it's late Louis, which means there's a vague whiff of sanitization and dumbed-downness to it, which is sad. The music is menacing and yet somehow still fun, and builds to a legendary crescendo. Buh-duh-BUMP.Speaking of legendary crescendos and perfect voices for the franchise.... Bassey's Welsh compatriot Tom Jones simply astonishes in what is, unbelievably, the only Bond theme he's ever done. I'd never really thought of Shirley Manson as a throwback singer, but damned if she doesn't sound that way here. Wiki User. It's possible to have reasonable discussions around the two classic James Bond debates: Who was the best Bond? Eartha Mae Kitt (January 17, 1927 – December 25, 2008) was an American singer, actress, and cabaret star. … Too many strings and harps, though (and a dreadfully cheesy guitar) doom this one to mediocrity.It has a promising beginning, for sure. Jones's vocal interpretation approaches the melodramatic, but never becomes embarassing. First of all, other than the title and an inspired use of the Barry theme in specific and limited places, the song as a whole doesn't sound at all like a Bond theme.

A touch of brilliance.Whoever first had the idea to recruit Welsh diva Shirley Bassey for the Bond films deserves a knighthood. Complete song listing of Eartha Kitt on OLDIES.com. CDs Vinyl. The zany guitar riffs and lighthearted feel to the song gave it its widespread appeal and set the tone for future films with Roger Moore.Accompanying Pierce Brosnan’s 007 debut, and his best turn as the character, this dark theme composed by Bono and sung by Tina Turner has the perfect mix of great vocals, lyrics, and music to make it one of the truly great James Bond songs. (Although every right-thinking person knows that the correct answers are obviously Sean Connery and This is also reflected in the title sequence, which, instead of traditionally featuring sexually suggestive female silhouettes, feature an animated Bond beating the crap out of animated bad guys. It's the kind of song Eartha Kitt would have seemed like a better fit for—but, would have taken too far into camp. Cornell's voice veritably screams its urgency. 1 (although Adele may join them shortly). "Let the dream begin," indeed. The title sequence, the first not created by Maurice Binder, only added to the mystique and intensity of the song. Try not to be happy when he does. OHMSS was the first film to give Bond a really emotional story arc, and this theme represents one side of that 007: the dangerous, vengeful one.Sung with phenomenal skill by Nancy Sinatra, this song is just beautiful, and it is named after one of the best films in the James Bond series. Worse than ignoring the title of the film, she uses it in other contexts. The less said about his one, the better. They could have done worse than signing her to a five-film deal.Another ill-conceived match of singer and franchise. “You only live twice, Mr. Bond.” It has all the good qualities of the Moonraker theme and more, with mysterious lyrics and string riffs that nail the tone of the movie perfectly. The song itself is weak, but it hardly matters. Books Magazines. Not a bad thing, altogether.In the Modern Era of Bond themes, some of the world's biggest artists have been tapped, raising the profile of the musical contributions to the franchise. But, of course, it could never be number one, which is, indubitably, undeniably…The original. C'est si bon, De partir n'im porte ou, Bras desus bras dessous, En chantant des chansons,

The subject of the lyrics is Bond himself, and Jones is possibly the only singer in the world whose vocals could match Sean Connery's onscreen swagger. 2014-12-12 21:53:14 2014-12-12 21:53:14. There's no need to pile on here; this may well have been the very best Bond theme the band was able to produce. Chris Evans backs off Trump criticism as he prepares to launch political website. The title sequence, too, is also one of my favorites, and goes well with the theme.An essentially sad song, a forlorn tribute to a forgotten homeland to which the singer returns, Matt Monroe lends his strong and smooth voice to one of the most outstanding themes in the series. Despite the band's limitations, it's a master class in how to create a great Bond theme.

Bassey holds back just enough, but brings out her inner sex kitten during the quiet parts of the song to balance the explosive diva sections ("I don't-need-looooooove"). "I like Carly Simon." She gamely tries to hit a crescendo in each chorus, but it's utterly forgettable.BEST MOMENT: The cello under the verses actually works pretty well.Now we're talking. Neither urgency nor elegance. Eartha Mae Kitt (January 17, 1927 – December 25, 2008) was an American singer, actress, and cabaret star.

On the one hand, it's Louis Armstrong, which means it's inherently awesome. Having said that, Monro basically does his best Sinatra imitation here, and does it well. That "L." I think I'm in love.A study in contradictions. And although it's not McCartney's fault, extra points deducted for this being the first Roger Moore film.BEST MOMENT: The two-note instrumental theme after each "Say live and let die." So what happened? Oh, what might have been.BEST MOMENT: Cornell finally gets a little crescendo at the end, although it's buried in muddy instrumentation.A great pairing, and they seem to be doing their best to produce something that screams Bond. 4/7/2018. Meghan Markle lookalike leaves strangers stunned . Also, the swelling musical riffs accompanied by the bellowing powerhouse vocals of Tom Jones make this song a force to be reckoned with. And then the chorus kicks in and it's complete late '70s/early '80s kitsch. Many people choose this as the best of all time.BEST MOMENT: "He loves gooooooooold!" Worst of all, this song inaugurates the Pre-Modern era of Bond themes, where the producers just choose a song they like, rather than tying it to the character or the movie.

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