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NO TIME TO DIE | Final US Trailer
007 : James Bond : Theme
Goldfinger Theme Song – James Bond
Diamonds Are Forever Theme Song – James Bond
Moonraker Theme Song – James Bond
Adele – Skyfall (Lyric Video)
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Billie Eilish – No Time To Die
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Sam Smith – Writing’s On The Wall (from Spectre) (Official Video)
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Thunderball Theme Song – James Bond
Thunderball (soundtrack)
Thunderball is the soundtrack album for the fourth James Bond film Thunderball.
| Thunderball | ||||
|---|---|---|---|---|
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| Soundtrack album by
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| Released | 1965 | |||
| Recorded | October 1965 | |||
| Length | 39:11 | |||
| Label | United Artists | |||
| Producer | Frank Collura (Reissue) | |||
| John Barry chronology | ||||
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| James Bond soundtrack chronology | ||||
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| Singles from Thunderball | ||||
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| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   |
The album was first released by United Artists Records in 1965 in both monaural and stereo editions, with a CD release in 1988.[1] The music was composed and conducted by John Barry, and performed by the John Barry Orchestra. This was Barry’s third soundtrack for the series. The soundtrack was still being recorded when it came time for the album to be released, so the LP only featured twelve tracks from earlier in the film; an expanded edition with six bonus tracks was released for the first time when the album was reissued on Compact Disc on 25 February 2003 as part of the “James Bond Remastered” collection. Additionally, the music in the film was unfinished days before the film’s release in theatres due to a late change by Eon Productions to use a title song with the same name as the film.
Title theme changeEdit
The original main title theme to Thunderball was titled “Mr. Kiss Kiss, Bang Bang“, which was written by John Barry and Leslie Bricusse. The title was taken from an Italian journalist who in 1962 dubbed agent 007 as “Mr. Kiss Kiss, Bang Bang”. Barry had thought he could not write a song about a vague “Thunderball” term or the film’s story, so his song was a description of the character James Bond.[2]
The song was originally recorded by Shirley Bassey. When there were concerns with the length of the track compared to the needed titles, it was later rerecorded by Dionne Warwick as Bassey was not available and featured a longer instrumental opening designed so the lyrics would not be heard until after the title “Thunderball” appeared in Maurice Binder‘s title design.[3] Neither version was released until the 1990s. The song was removed from the title credits after United Artists requested that the theme song contain the film’s title in its lyrics.[4] When it was planned to use the Warwick version in the end titles Shirley Bassey sued the producers[5][6] with the result being that neither version was heard in the film and different instrumental versions of the theme appeared on the High Fidelity (Bassey’s) and Stereo (Warwick’s) soundtrack LPs.[7]
Barry teamed up with lyricist Don Black and wrote “Thunderball” in a rush.[8] Tom Jones, who sang the new theme song, allegedly fainted in the recording booth after singing the song’s final, high note.[8]Jones said of the final note, “I closed my eyes and I held the note for so long when I opened my eyes the room was spinning.”[9]
Country musician Johnny Cash also submitted a song to Eon productions titled “Thunderball” but it wasn’t used.[10] The lyrics of Cash’s “Thunderball” describe the film’s story.[11]
The producers’ decision to change the film’s theme song so close to the release date meant that only some of the film’s soundtrack had been recorded for release on LP.[8] Adding to the delay issues, Barry had written large amounts of the score around the original theme and woven it throughout the score (along with the recurring underwater “Search For Vulcan” motif). After “Thunderball” was written, Barry wrote, orchestrated, and recorded several new pieces interpolating it.
Though “Mr. Kiss Kiss Bang Bang” was dropped as the theme song, some of the pieces which included its melody remained part of the score, and it receives full statements twice: by full orchestra and jazz rhythm quartet with bass, drums, guitar, and vibraphone in the track “Café Martinique” (immediately followed by the “Vulcan” cue), and as a wild, bongo-laden cha-cha-cha in “Death of Fiona.” The scene which includes the latter takes place at Club Kiss Kiss, and features the bongo drumming of bandleader King Errisson.
CompositionEdit
The tune was composed in the key of B-flat minor.[12]
Track listingEdit
- “Thunderball (Main Title)” – Tom Jones[A]
- “Chateau Flight”[A]
- “The Spa”
- “Switching the Body”
- “The Bomb”
- “Cafe Martinique”
- “Thunderball (Instrumental)”
- “Death of Fiona”
- “Bond Below Disco Volante”
- “Search for Vulcan”
- “007”[B]
- “Mr. Kiss Kiss Bang Bang”
- CD bonus tracks
- “Gunbarrel / Traction Table / Gassing the Plane / Car Chase”[A]
- “Bond Meets Domino / Shark Tank / Lights out for Paula / For King and Country”[A]
- “Street Chase”[B]
- “Finding the Plane / Underwater Ballet / Bond with SPECTRE Frogmen / Leiter to the Rescue / Bond Joins Underwater Battle”[B]
- “Underwater Mayhem / Death of Largo / End Titles”[A][B]
- “Mr. Kiss Kiss Bang Bang (Mono Version)”
NotesEdit
- ^ a b c d e contains the “James Bond Theme“, originally composed for the Dr. No soundtrack
- ^ a b c d contains “007“, originally from the From Russia with Love soundtrack
Outside the filmEdit
- In 1965, KYW-TV in Philadelphia adapted the “007” track, also used in the film From Russia with Love as its longtime theme for its Eyewitness News format. It went on to be used in other Group W stations in Boston, Pittsburgh, Baltimore and San Francisco for their newscasts.
Parodies / tributesEdit
- In 1996, “Weird Al” Yankovic parodied Tom Jones during the opening theme song of the comedy Spy Hard. Instead of passing out, as Jones allegedly did, Yankovic’s head explodes at the opening song’s end.
- The opening theme to the Warner Bros. cartoon Duck Dodgers (2003–05), performed by Tom Jones with the Flaming Lips, is a pastiche of “Thunderball”.
- Jones sang the theme during Sean Connery‘s AFI Life Achievement Award ceremony in 2006.
- Jaret Reddick, lead singer of Bowling For Soup, covered “Thunderball” on the 2017 multi-artist compilation album, Songs, Bond Songs: The Music Of 007.[13]
- The melody from CD Bonus track 4 is used by My Life with the Thrill Kill Kult on their third studio album Sexplosion! track 5, “Mood No. 6”.
See also
Nancy Sinatra – You Only Live Twice (HQ)
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The Man with the Golden Gun Opening Title Sequence
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The spy who loved me (1977) INTRO HD
Sheena Easton • For Your Eyes Only – James Bond/007
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James Bond – Octopussy – Theme Song
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A View to a Kill Opening Title Sequence
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A-ha • The Living Daylights – James Bond 007
LICENCE TO KILL HIGH DEFINITION
-—
James Bond – Goldeneye Opening Theme (HQ)
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Sheryl Crow – Tomorrow Never Dies
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Barry, Beatles, Billie: 60 years of Bond tunes
British actor Daniel Craig poses during a photocall to promote the 24th James Bond film ‘Spectre’ on February 18, 2015 at Rome’s city hall. AFP PHOTO / TIZIANA FABI (Photo by VINCENZO PINTO and TIZIANA FABI / AFP)
Paris, France — Ever since the twanging guitar of John Barry’s theme song first appeared in “Dr No” in 1962, music has been crucial to the James Bond phenomenon.
The songs written for each title sequence have become a way of marking out the evolution of pop music through the past 60 years, from the classics of Shirley Bassey and Paul McCartney to Adele and Billie Eilish.
Nobody remembers Monty
Many assume the original theme was written by John Barry, in part because he became so closely associated with the Bond franchise, composing the soundtrack for 11 of the films.
In fact, Barry only arranged and performed the theme tune.
The famous dung-digger-dung-dung line was actually written by theater composer Monty Norman, developed from an unused Indian-themed score he had written for an adaptation of VS Naipaul’s “A House for Mr Biswas.”
It was Barry’s job to jazz it up, adding the blaring horns that made it so dramatic.
While Norman was given a one-off payment of just £250, Barry built a Hollywood career that has included five Oscars and classic soundtracks to “Midnight Cowboy,” “Out of Africa,” and many more.
Golden girl Shirley Bassey
Bassey became almost as closely linked to Bond as Barry — the only singer to deliver three title tracks: “Goldfinger” (1964), “Diamonds are Forever” (1971), and “Moonraker” (1979).
The first two are considered the most memorable in Bond history, the latter less so — Bassey later admitted she hated the “Moonraker” song and only did it as a favor to Barry.
“Goldfinger” made her a star, but the recording sessions were grueling, with Barry insisting that Bassey, then 27, hold the last belting note for seven full seconds.
“I was holding it and holding it — I was looking at John Barry and I was going blue in the face and he’s going — hold it just one more second. When it finished, I nearly passed out,” she later recalled.
A new Beatles beginning
The first Bond film without Barry on the baton was “Live and Let Die” in 1973.
For this, the producers turned to another famous “B” – The Beatles.
The group’s producer George Martin took over composing duties and brought in Paul McCartney and his band Wings for the theme song.
It became another classic and spawned a famous cover by Guns’N’Roses in later years.
From this point on, the Bond title song became its own mini-industry, without the involvement of the composer.
Big pop tie-ins followed, ranging from the not-so-successful (Lulu’s “The Man with the Golden Gun”) to classics like Carly Simon’s “Nobody Does it Better” and Duran Duran’s “A View to a Kill.”
<img class=”i-amphtml-intrinsic-sizer” role=”presentation” src=”data:;base64,” alt=”” aria-hidden=”true” />
FILE PHOTO: Auctioneer specialists hold a rare intact James Bond ‘Thunderball’ (1965) film poster (estimate £8,000-£12,000), featuring two panels of poster illustrations on the left by Frank McCarthy and two on the right by Robert McGinnis, at Ewbank’s Auctioneers, ahead of an upcoming sale, in Woking, Britain, April 7, 2021. REUTERS/Hannah McKay
The next generation
After a few desultory outings during the Pierce Brosnan years, the Bond genre got a shot of adrenaline with Adele’s “Skyfall” in 2012, which was the first to win an Oscar for best song.
Image: Twitter/@007
The following year’s “Writing’s on the Wall” by Sam Smith also won an Oscar, though it got a more mixed critical reception.
The latest incarnation is pop princess Billie Eilish with “No Time to Die,” which she co-wrote with her brother Finneas.
It already has a thumbs-up from the doyenne of the Bond theme world, with Bassey telling The Big Issue: “She did a good job.”
The latest James Bond movie “Skyfall” stars Daniel Craig. 007 boozed so much that in all reality he would have had the tremulous hands of a chronic alcoholic, according to an offbeat study published by the British Medical Journal. PHOTO FROM FACEBOOK.COM/JAMESBONDOO7
Live And Let Die Theme Song – James Bond
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Paul McCartney Uncle Albert Rare Studio Demo
Paul McCartney; Uncle AlbertAdmiral Halsey. (RAM 1971)
Uncle Albert/Admiral Halsey
| “Uncle Albert/Admiral Halsey” | |||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
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| Single by Paul and Linda McCartney | |||||||||||
| from the album Ram | |||||||||||
| B-side | “Too Many People“ | ||||||||||
| Released | 2 August 1971 (US only) | ||||||||||
| Format | 7″ | ||||||||||
| Recorded | 6 November 1970 | ||||||||||
| Genre | |||||||||||
| Length | 4:49 | ||||||||||
| Label | Apple | ||||||||||
| Writer(s) | Paul and Linda McCartney | ||||||||||
| Producer(s) | Paul and Linda McCartney | ||||||||||
| Paul and Linda McCartney singles chronology | |||||||||||
|
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|
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“Uncle Albert/Admiral Halsey” is a song by Paul and Linda McCartney from the album Ram. Released in the United States as a single on 2 August 1971,[1] but premiering on WLS the previous week (as a “Hit Parade Bound” (HPB)),[2] it reached number one on the Billboard Hot 100 on 4 September 1971,[3][4] making it the first of a string of post-Beatles, McCartney-penned singles to top the US pop chart during the 1970s and 1980s. Billboard ranked it number 22 on its Top Pop Singles of 1971 year-end chart.[5]
Contents
[hide]
Elements and interpretation[edit]
https://youtu.be/XI6C7L66zq8
“Uncle Albert/Admiral Halsey” is composed of several unfinished song fragments that McCartney stitched together similar to the medleys from the Beatles‘ album Abbey Road.[6] The song is noted for its sound effects, including the sounds of a thunderstorm, with rain, heard between the first and second stanza, the sound of a telephone ringing, and a message machine, heard after the second stanza, and a sound of chirping sea birds and wind by the seashore. Linda’s voice is heard in the harmonies as well as the bridge section of the “Admiral Halsey” portion of the song.
McCartney said “Uncle Albert” was based on his uncle. “He’s someone I recall fondly, and when the song was coming it was like a nostalgia thing.”[7] McCartney also said, “As for Admiral Halsey, he’s one of yours, an American admiral”, referring to Fleet Admiral William “Bull” Halsey (1882–1959).[7] McCartney has described the “Uncle Albert” section of the song as an apology from his generation to the older generation, and Admiral Halsey as an authoritarian figure who ought to be ignored.[8]
Despite the disparate elements that make up the song, author Andrew Grant Jackson discerns a coherent narrative to the lyrics, related to McCartney’s emotions in the aftermath of the Beatles’ breakup.[9] In this interpretation, the song begins with McCartney apologizing to his uncle for getting nothing done, and being easily distracted and perhaps depressed in the lethargic “Uncle Albert” section.[9] Then, after some sound effects reminiscent of “Yellow Submarine,” Admiral Halsey appears to him calling him to action, although McCartney remains more interested in “tea and butter pie.” McCartney stated that he put the butter in the pie so that it would not melt at all.[9] Jackson sees a possible sinister allusion in the use of Admiral Halsey as a character in the song, since Halsey was famous for fighting the Japanese in World War II and claiming that “after the war, the Japanese language will be spoken only in hell,” and McCartney’s ex-Beatle partner John Lennon had recently married a Japanese woman, Yoko Ono.[9] The “hands across the water” section which follows could be taken as evocative of the command “All hands on deck!”, rousing McCartney to action, perhaps to compete with Lennon.[9] The song then ends with the “gypsy” section, in which McCartney resolves to get back on the road and perform his music, now that he was on his own without his former bandmates who no longer wanted to tour.[9]
Reception[edit]
Paul McCartney won the Grammy Award for Best Arrangement Accompanying Vocalists in 1971 for the song.[10][11] The single was certified Gold by the Recording Industry Association of America for sales of over one million copies.[12]
According to Allmusic critic Stewart Mason, fans of Paul McCartney’s music are divided in their opinions of this song.[13] Although some fans praise it as “one of his most playful and inventive songs” others criticize it for being “exactly the kind of cute self-indulgence that they find so annoying about his post-Beatles career.”[13] Mason himself considers it “churlish” to be annoyed by the song, given that song isn’t intended to be completely serious, and praises the “Hands across the water” section as being “lovably giddy.”[13]
On the US charts, the song set a songwriting milestone as the all-time songwriting record (at the time) for the most consecutive calendar years to write a #1 song. This gave McCartney eight consecutive years (starting with “I Want to Hold Your Hand“), leaving behind Lennon with only seven years.
Later release[edit]
“Uncle Albert/Admiral Halsey” also appears on Wings Greatest from 1978, even though Ram was not a Wings album, and again on the US version of McCartney’s 1987 compilation, All the Best!, as well as the 2001 compilation Wingspan: Hits and History.
Personnel[edit]
- Paul McCartney – lead, harmony and backing vocals, piano, bass
- Linda McCartney – harmony and backing vocals
- David Spinozza – guitar
- Hugh McCracken – guitar
- Denny Seiwell – drums
- Marvin Stamm – flugelhorn
- New York Philharmonic – orchestral arrangement
Song uses[edit]
- The song was used in the episode “He Ain’t Heavy, He’s My Uncle” of the British sitcom Only Fools and Horses, where the character of Uncle Albert leaves home.
- Harry Shearer uses a looped sample of “Uncle Albert/Admiral Halsey” for the “Apologies of the Week” segment of Le Show, with emphasis on McCartney saying “sorry”.
- The film Greenberg includes a scene in which the character Florence, drunk on champagne, sings along to the song which Greenberg included on a mix-CD for her.
- Jazz trumpeter Freddie Hubbard covered the song on his 1971 album First Light.
- The song is mentioned in the lyrics of the song “Hillcrest” by New Zealand band The Changing Same.
Charts[edit]
Peak positions[edit]
|
Year-end charts[edit]
Certifications[edit]
|
Notes[edit]
- Jump up^ McGee 2003, p. 195.
- Jump up^ “89WLS Hit Parade”. 1971-08-02. Retrieved 2013-12-21.
- Jump up^ Billboard.
- ^ Jump up to:a b “Allmusic: Paul McCartney: Charts & Awards”. allmusic.com. Retrieved 2 May 2013.
- Jump up^ “Top Pop 100 Singles” Billboard December 25, 1971: TA-36
- Jump up^ Blaney, J. (2007). Lennon and McCartney: together alone: a critical discography of their solo work. Jawbone Press. pp. 46, 50. ISBN 978-1-906002-02-2.
- ^ Jump up to:a b McGee 2003, p. 196.
- Jump up^ Benitez, V.P. (2010). The Words and Music of Paul McCartney: The Solo Years. Praeger. pp. 30–31. ISBN 978-0-313-34969-0.
- ^ Jump up to:a b c d e f Jackson, A.G. (2012). Still the Greatest: The Essential Songs of The Beatles’ Solo Careers. Scarecrow Press. ISBN 978-0810882225.
- Jump up^ “Past Winners Search”. National Academy of Recording Arts and Sciences. Retrieved 2 May 2014.
- Jump up^ “1971 Grammy Awards”.
- Jump up^ riaa.com
- ^ Jump up to:a b c Mason, S. “Uncle Albert/Admiral Halsey”. Allmusic. Retrieved 2013-12-25.
- Jump up^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6.
- Jump up^ “Top Singles – Volume 16, No. 5”. RPM. 18 September 1971. Retrieved 5 May 2013.
- ^ Jump up to:a b Nielsen Business Media, Inc (25 December 1971). Billboard – Talent in Action 1971. Retrieved 1 May 2014.
- Jump up^ “Single Search: Paul and Linda McCartney – “Uncle Albert/Admiral Halsey”” (in German). Media Control. Retrieved 20 February 2013.
- Jump up^ “RPM 100 Top Singles of 1971”. RPM. 8 January 1972. Retrieved 11 March 2014.
- Jump up^ “American single certifications – Paul Mc Cartney – Uncle Albert”. Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
References[edit]
- McGee, Garry (2003). Band on the Run: A History of Paul McCartney and Wings. New York: Taylor Trade Publishing. ISBN 0-87833-304-5.
| Preceded by “How Can You Mend a Broken Heart” by Bee Gees |
Billboard Hot 100 number-one single 4 September 1971 (one week) |
Succeeded by “Go Away Little Girl” by Donny Osmond |
| Preceded by “Sweet Hitch-Hiker” by Creedence Clearwater Revival |
Canadian “RPM” Singles Chart number-one single 18 September 1971 – 2 October 1971 (three weeks) |
Succeeded by “Maggie May” by Rod Stewart |
|
||
- Singles certified gold by the Recording Industry Association of America
- 1971 singles
- Paul McCartney songs
- Apple Records singles
- Billboard Hot 100 number-one singles
- Songs written by Paul McCartney
- Songs written by Linda McCartney
- Song recordings produced by Paul McCartney
- Music published by MPL Music Publishing
- RPM Top Singles number-one singles
- Number-one singles in New Zealand
- Music medleys
- Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s)
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