/ 1 December 1995

Paying homage to Bondism

Adam Sweeting

RECORDING a James Bond theme demands more dignified attributes than mere pop stardom, as Duran Duran demonstrated with A View to a Kill — stupid title, pathetic song, crap movie. Even wily pop veteran Paul McCartney found it difficult to shake and stir the perfect Bond cocktail, and his Live and Let Die theme in 1973 completely misunderstood the instructions on the side of the Bond packet. He used melodrama instead of drama, and mistook pomp- rock flatulence for high-rolling swagger.

It was easier in the early days, before Bond became a parade of in-jokes and camp self- reference. From Russia With Love was a cracking thriller movie, and Matt Monro sang the theme with the perfect balance of romance and regret. Nancy Sinatra’s You Only Live Twice (1967) was no classic, but at least she endowed it with the right dynastic connections. It was Shirley Bassey who showed how it should be done, first with the raunchy, epic Goldfinger in 1964, then Diamonds are Forever in 1972. Sleaze, glitz and passion never fizzed so intoxicatingly.

Being picked for a James Bond theme is such a feather in the cap that Tina Turner held a press conference to plug her new effort for GoldenEye. Written by Bono and The Edge from U2, it’s a perfectly calculated exercise in designer marketing — a knowing homage to Bondism, rather than the thing itself. In the end, it may be only John Barry’s imperishable instrumental twangalong and the introductory shot-in-the-eye sequence that keep the Bond flame burning.