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Hudson Martin
Hudson Martin

007 : James Bond : Theme ((NEW))

The "James Bond Theme" is the main signature theme music of the James Bond films and has featured in every Eon Productions Bond film since Dr. No, released in 1962. Composed by Monty Norman (with arrangements for film provided by John Barry), the piece has been used as an accompanying fanfare to the gun barrel sequence in every Eon Bond film besides the 2006 reboot Casino Royale (played fully, instead, at the end of that film).

007 : James Bond : Theme

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Monty Norman wrote the "James Bond Theme" and received royalties from 1962 until his death in 2022. Norman collected around 600,000 in royalties between 1976 and 1999.[1] For Dr. No, Norman scored the film and the theme was arranged by John Barry, who would later go on to compose the soundtracks for eleven James Bond films. Courts have ruled that the theme was written by Norman, despite claims and testimony by Barry that he had actually written the theme. Norman has consequently won two libel actions against publishers for claiming that Barry wrote the theme, most recently against The Sunday Times in 2001.[1]

The "James Bond Theme" was recorded on 21 June 1962, using five saxophones, nine brass instruments, a solo guitar and a rhythm section.[3] The guitar motif heard in the original recording of the theme was played by Vic Flick on a 1939 English Clifford Essex Paragon Deluxe guitar plugged into a Fender Vibrolux amplifier. Flick was paid a one-off fee of 6 for recording the famous James Bond Theme motif.[4] John Scott played the saxophone. Barry, who was paid 250 for his work, was surprised that his theme appeared so often in Dr. No. He was told by Noel Rogers, the head of United Artists Music, that though the producers would not give him any more money or a writing credit they would get in touch with him if there was another Bond film made.[5]

Within the Bond films themselves, many different arrangements of the theme have been used, often reflecting the musical tastes of the specific times. The electric guitar version of the theme is most associated with the Sean Connery era although it was also used in some Roger Moore films, in Timothy Dalton's final film Licence to Kill and in the Bond films starring Pierce Brosnan and Daniel Craig with the arrangement by David Arnold.

For every Bond movie which John Barry scored, he orchestrated a slightly different version of the Bond theme, as can be heard during the gun barrel sequence. These specialised Bond themes often reflected the style and locations featured in the movie, and the actor playing Bond.

The "James Bond Theme" and its variations found in the movies are played during many different types of scenes. Early in the series, the theme provided background music to Connery's entrances. It was not until Goldfinger that John Barry began to use the theme as an action cue. Since then, the primary use of the "James Bond Theme" has been with action scenes.

In From Russia with Love, the "James Bond Theme" appears not only in the gun barrel pre-title sequence, but as part of the main title theme and in the track "James Bond with Bongos". It is a slower, jazzier, somewhat punchier rendition than the original orchestration. The original Barry arrangement from Dr. No is heard during a check of Bond's room for listening devices.

In Goldfinger, the "James Bond Theme" can be heard on the soundtrack in "Bond Back in Action Again" (gun barrel and pre-title sequence). The "James Bond Theme" for this movie is heavily influenced by the brassy, jazzy theme song sung by Shirley Bassey.

You Only Live Twice featured a funereal orchestration with Bond's "burial" at sea sequence in Hong Kong harbour. A full orchestral version of the theme was used in the Little Nellie autogyro fight scene.

When Roger Moore came to the role, the "James Bond Theme" became a string orchestra driven piece. In Live and Let Die, the James Bond theme was featured in a Funk-inspired version of the tune reflecting the music of Blaxploitation films popular at the time.

The brief quote of the theme in the pre-credits music of The Spy Who Loved Me, titled "Bond 77", featured a disco sound, reflecting a style of music which was very popular at the time. The Spy Who Loved Me returned briefly to using the surf-rock guitar associated with the theme from the early days.

In Licence to Kill, the Bond theme was arranged by Michael Kamen using rock drums to symbolise a harder and more violent Bond. This gun barrel is the first one since Dr. No not starting with the Bond theme, but orchestral hits though the surf guitar makes returns soon after.

At the end of Quantum of Solace, the theme appears with Craig's new official gun barrel sequence, unusually shown at the end of the film. The theme here is very similar to the classic style in Casino Royale. It appears sparingly throughout the score itself, never in an immediately recognisable variation. David Arnold said in an interview on the DVD extras for Tomorrow Never Dies that the "James Bond Theme" is what he expects to hear as an audience member in action scenes, yet his scores for Casino Royale and Quantum of Solace only use it during the end credits.

The theme is used again in No Time to Die, in the tracks named "Gun Barrel" and "Back to MI6". A reworked, salsa-like version was used in "Cuba Chase". This is the only film in the Craig era that doesn't use the Bond theme in the credits, instead using "We Have All the Time in the World" from On Her Majesty's Secret Service. This is because of Bond's death at the end of the film. Additionally, the film's title track performed by Billie Eilish features a single trumpet solo interpolating the theme.

Apart from the James Bond soundtracks themselves, John Barry re-recorded the James Bond Theme in 1966 for his CBS album The Great Movie Sounds of John Barry, which features driving percussion ostinati (with a prominent role for bongos), as well as a piano and brass improvisation superimposed over the last few bars.[8] For his 1972 Polydor album The Concert John Barry, he re-scored the theme again as part of a James Bond suite for full symphony orchestra, in this case the Royal Philharmonic Orchestra.[9] This more lush arrangement was to feature in his later Bond film scores, notably Octopussy.

American electronica musician Moby produced a remixed version of the theme entitled "James Bond Theme (Moby's Re-Version)" for the Bond film Tomorrow Never Dies. It first appeared as the second track on I Like to Score, a compilation of Moby's songs used in films, and later featured as the fifteenth and final track on the Tomorrow Never Dies soundtrack album. Moby has said "It did feel a little strange remixing something that was perfect in its original state",[attribution needed] further admitting that he "still thinks the original is miles better than the version I did".[attribution needed]

Madonna's "Die Another Day" became a dance hit around the world, while "A View to a Kill" is the only Bond song to have reached number one on the US Billboard Hot 100. Three Bond songs have won the Academy Award for Best Original Song: "Skyfall" by Adele, "Writing's on the Wall" by Sam Smith and "No Time to Die" by Billie Eilish, with Writing's on the Wall also became the first Bond theme to reach number one on the UK Singles Chart.[1]

The "James Bond Theme" is the main signature theme of the James Bond films and has featured in every Eon Productions Bond film since Dr. No, released in 1962. The piece has been used as an accompanying fanfare to the gun barrel sequence in every Eon Bond film before Casino Royale.

The briefest of "James Bond themes", this composition started off the "Opening Titles" music of From Russia with Love. It was heard in the On Her Majesty's Secret Service film trailer.[citation needed] WLS (AM) used the theme in the mid-1960s for their secret agent radio serial "The Wild Adventures of Peter Fugitive" that appeared on "The Art Roberts Show".[2]

"007 Theme", not to be confused with the "James Bond Theme", is an adventure theme composed by John Barry in 1963 for the Bond film From Russia with Love.[3]"The John Barry Seven" had pop chart hit with a cover version of Elmer Bernstein's theme to The Magnificent Seven that included seven beats repeated throughout the theme. Barry used seven beats throughout the "007 Theme".

This piece of music was also used by Al Primo, the news director at KYW-TV in Philadelphia for its long-time theme to Eyewitness News, and was adopted by other Group W stations in Baltimore, Pittsburgh, Boston and San Francisco as well as other non-Group W stations, including WLS-TV in Chicago. The theme was also sampled by Big Audio Dynamite for the 1986 song "Sightsee M.C!"

The largest contributions to the Bond films, save for the "James Bond Theme", are works from John Barry. Barry composed eleven Bond soundtracks and is credited with the creation of "007" (dominated by brass and percussion) and the popular orchestral theme from On Her Majesty's Secret Service.

The "James Bond Theme" is the main theme for Dr. No, and has featured in all the Eon Productions Bond films in different versions. The theme has also featured on the gun barrel sequences at the beginning of the films. The original theme was written by Monty Norman, and was performed by John Barry and his orchestra in 1962. In the opening credits of Dr. No, two other pieces were played: an untitled bongo interlude and a Calypso-flavored rendition of "Three Blind Mice", titled "Kingston Calypso". Due to this, Dr. No is the only film to have more than one opening theme. The "James Bond Theme" reached No. 13 in the UK Singles Chart, and remained in the charts for 13 weeks.[4]

The opening credits of From Russia with Love were accompanied by an instrumental version of the main theme, arranged by John Barry and written by Lionel Bart. A single by The John Barry Orchestra reached No. 39 in the U.K. At the film's end, a vocal version by English singer Matt Monro is heard. This song spent 13 weeks in the U.K. charts, peaking at No. 20.[4] 041b061a72


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