A Definitive Absolutely Accurate Ranking of James Bond Theme Songs

The title says it all. Mostly. It doesn’t tell you why I have decided to put together a ranking of every James Bond theme song. I could tell you that there are great reasons for this, but I would be lying. The real reason: I’ve been watching and re-watching James Bond movies on and off for years, both as a kind of weird comfort watching and because the culture critic in me wants to understand them. The other real reason: cause I want to.

In preparing for this, I had to consider two factors: first, what criteria to use to judge these songs, because no ranked list would be valid if we didn’t pretend to some kind of objective measure; and second, how to use such a list to incorporate my brother’s feedback, as he was coaxed into participating in this fiasco for our mutual amusement. The second of these, I simply decided that we’d use the ranking average of our two scores for the final score in one of the criteria categories.

The more difficult task was coming up with the criteria in the first place. And so with much deliberation with myself, a little with my brother, and a little more with other folks who also have opinions about things, I came up with this list of five:

1. Memorable
   Whether for the lyrics, the composition, the impact to the franchise, or some other meaningful factor, the best Bond songs are always memorable because you want to hear them again or you want to sing along (or the song haunts you in your dreams). I treat “memorable” as a positive and will take away points for songs that are “memorable” for the wrong reasons.
2. Vocals
   For me, the best Bond songs tend to feature the strongest vocal performances in tonal and/or technical quality. Simply singing the tune isn’t enough; even simple tunes can be made beautiful in the hands of exceptional vocalists. Obviously, this will be partly subjective, as what I consider to be a good vocal may vary substantially from what others think. Music is gonna music.
3. Production
   Much like #2, Bond songs are expected to be well-produced, both in terms of their composition and in the quality of the recording. Bond songs must sound good. That said, I’ll grant some leeway for older Bond tunes because of the technology of the time; this is actually pretty easy to do because most Bond songs are relatively well produced even if they aren’t using modern recording studios (exceptions exist).
4. Bondness
   For me, Bond songs have to be integrated into the Bond musical milieu. This fits in two distinct ways: a) its theme is incorporated into the score, and b) the presence of the signature sound and tone of Bond scores as exemplified by many of John Barry’s and all of David Arnold’s compositions. There is a Bond sound, which I strongly prefer.
5. Radio Test
   Essentially, this grants bonus points to any song I and/or my brother would sing along to if it came on the radio. A song can earn 0, 2, or 4 points in this category. This is the most subjective of all of the criteria, and so I encourage you to use these criteria to make your own list!

Now that you have my criteria, my rationale, and some vague notion that I am totally being objective about this, let’s get to the ranked list. A quick note for anyone who isn’t a huge Bond fan: most of the song titles are the same as the movie title; where that is not the case, I’ve indicated the movie it comes from.

Here we go:

26. Spectre / “Writing’s on the Wall” (2015) — 1.875 points

• Memorable: 1.5
  Mostly, the song is memorable either because you love Sam Smith (fair enough) or because you hate it. I happen to like Sam Smith and hate this song anyway. I remember it, but only because I remember how much I don’t like the song.
• Vocals: 1.5
  The falsetto flip disrupts the song’s development and comes with so much pitch correction or auto-tune that it is, at best, cloying. It also highlights those moments when correction is either used incorrectly (wrong notes) or not used appropriately (wrong notes). Smith is actually better than this.
• Production: 2.5
  The song struggles to maintain its intensity because it pulls away for Smith’s falsetto moments, which means the vocals themselves never crescendo meaningfully with the intense backing track, which feels secondary to the song’s musical intent. It’s as if the backing track and the vocals were shoved together rather than made together. They literally spent 30 minutes creating the vocals for this, and it shows in the production. The backing track is gorgeous, though, and that’s where I’ll give it most of its points here.
• Bondness: 2
  While many of the Bond elements are present, the fact that the backing track, which is part of the main score, doesn’t feel integrated with the vocals hurts its Bondness by a significant margin. Integration is essential.
• Radio: +0

25. “Die Another Day” (2002) — 2 points

• Memorable: 2
  In my opinion, it’s memorable for all the wrong reasons. There’s no meaningful hook or orchestration, with exception to the interesting use of strings. It never becomes anything; worse, the song ages so poorly that it’s hard to think of it except in terms of what makes it a product of its time.
• Vocals: 2
  Madonna sounds better when she’s not heavily autotuned in this. As is, you could simply replace her with anyone who can vaguely hold a note and the song doesn’t change. There’s nothing particularly Madonna about the song, unless your conception of Madonna is “hack work,” which this certain feels like.
• Production: 2
  The fact that the lyrics include “Sigmund Freud” and “analyze this” for reasons that defy logic is enough to ding this. However, the production also ages poorly in a way that other Bond songs simply don’t. Some of its choices for distortion are interesting, but these are hampered by excessive repetition, overuse of auto-tune, and a beat that could best be described as “found as a sample on your production suite.”
• Bondness: 2
  There’s a reason no Bond film since has done an EDM dance tune. Some might say the franchise almost died because of this song, which may or may not be true…you be the judge. That said, even by comparison to much of the actual soundtrack, this song is completely out of place. And I say that as someone who loves the Die Another Day soundtrack.
• Radio: +0

24. Octopussy / “All Time High” (1983) — 2.125 points

• Memorable: 2
  The song is almost entirely forgettable except that my brother remembers it but doesn’t know why (he may be suffering from PTSD…). Even as I write this, I cannot think of the chorus, which should be the most memorable part. However, at least I can’t remember any moment in the song that makes me cringe, which is saying a lot.
• Vocals: 3
  The vocals are sometimes pitchy and feel lackluster. There are no meaningful dynamics here, and the rhythm of the song is so straightforward that there is almost nothing to latch onto with Coolidge’s performance. Competent? Sure. But we expect more than competent for Bond songs.
• Production: 3
  I would describe this as a boring 80s song with incredibly lackluster production. It’s repetitive, dull, and a nothingburger of a song. Does it mostly sound nice? Sure, but that’s a low bar to clear.
• Bondness: 1
  Weird porn sax does not a Bond movie theme make, though it might make the song kinda funny (and is technically in the camp wheelhouse for Roger Moore). It lacks any of the bombast or meaning we expect of Bond songs.
• Radio: +0

23. Quantum of Solace / Another Way to Die (2008) — 2.1875 points

• Memorable: 1
  If you can tell what they’re singing, you still won’t be impressed by the chorus or any particular tune. It’s simply forgettable — or, if you’re meaner about it, memorable only because you can’t stand it. In my case, I fit into the latter category; even so, I don’t think there’s much here to grab onto as a listener, either because the chorus is simplistic and grating or because so little is worth committing to memory.
• Vocals: 1.75
  Both singers are giving weak performances, and combined, their voices do not mesh. There is far too much dissonance, and the chorus sounds particularly grating. This was almost certainly intentional, which makes it even worse to listen to. Alicia Keys is also completely underused here, which, again, must be intentional so as not to highlight Jack White’s vocal limitations. But then the question remains: why have Alicia Keys in the first place?
• Production: 2.5
  There are some interesting rhythms with the guitar, but the song overall sounds muddled with dynamics that are hard to comprehend. Even White’s guitar work comes across as uninspired. Modern production quality can’t save a weak tune with a chorus that feels more like a list of features than a story or a meaningful metaphor.
• Bondness: 3.5
  Some of the signature sounds are here, but overall, the song has more in common with other weak entries in the franchise than what I consider to be what makes a great Bond song: odd production choices that feel more particular to the people behind the writing of the song than to the movie it is attached to.
• Radio: +0

22. “Never Say Never Again” (1983) — 2.25

• Memorable: 1.5
  There’s no good reason to remember this song; it does have the name of the movie in the title, though, but beyond that, it is like other bland entries in the franchise. To be fair, the movie it is attached to is more memorable for its production problems than for the film itself, so perhaps the song was doomed from the start.
• Vocals: 3
  Lani Hall’s vocals are sometimes pitchy and come with a really odd tonality. As soon as she goes high, it is like nails on a chalkboard for me. The rest is fine, though. Stellar? No. But fine.
• Production: 3.5
  The 80s smooth jazz funk of it is a welcome change that makes for some interesting dynamics even if the production overall is weak in terms of song structure. Really, it gets points for having fun with its sound but not for much else.
• Bondness: 2
  It lacks most of the signature sound by intent, though there is more to this song than others in terms of its lyrics and choices. This makes for a song that doesn’t seem like a Bond song but at least maintains a tradition of introducing other styles into the Bond song oeuvre.
• Radio: +0

21. On Her Majesty’s Secret Service / “We Have All the Time in the World” (1969) — 2.375 points

• Memorable: 1.5
  While it’s not a memorable Louis Armstrong song, it still earworms you so you have to sing along. Beyond that, though, it’s largely forgettable, and part of that is due to its nature as a non-credits song. Is it actually a Bond song or just a song that played in a Bond movie?
• Vocals: 2.5
  I love Louis Armstrong, but in almost every way, this is the most basic of Armstrong vocals. Much of that has to be due to his health (he would pass 2 years later), but I can’t be nice just because he wasn’t in his prime. Decisions were made, and what we’re given is something that sounds like Armstrong phoning it in (or, worse, a studio banking on a recognizable name).
• Production: 3
  It sounds nice, but it is quite basic. We’re led to believe that this is a typical Armstrong song, but even the horn wasn’t played by Armstrong (he was too ill) and comes across as perfectly nice sounding but not particularly meaningful. The melody and lyrics are fairly simplistic to a fault, too. It’s a pleasant song, but that’s about it.
• Bondness: 2
  It could be in any movie’s romantic moment, which means there’s nothing Bond-y to it. No Bond theming. No bombast. Just a long, soft, sweet song which happens to have a title spoken aloud by Bond in the movie. It does get credit for the theme appearing in the film’s soundtrack, though.
• Radio: +0

20. “No Time to Die” (2020) — 2.5

• Memorable: 2
  Eilish carries its memory, but because the song cannot go anywhere, it offers basically nothing to attach to. While trying to think about why this song might be memorable, we kept humming the tunes of other Bond songs.
• Vocals: 2
  If you like Eilish, you’ll be fine. If, like me, you cannot stand mumble singing or the absence of any substantial dynamics in the performance, this is actually painful to listen to. The song can’t really go anywhere because Eilish only barely opens up. Compared to other Bond performances, this feels incomplete.
• Production: 2.5
  The song is like the physical manifestation of teasing. When you think the song will “open up,” it really doesn’t (one note and then it’s done), and so it feels subdued in a way that doesn’t fit the film we’re given. There is also a substantial lack of meaningful dynamics here, and the backing track is stuck being at its least expressive in terms of orchestration. It’s cleanly done and largely sounds good, though (Eilish’s vocals aside). I *want* to like this song, but a song that doesn’t actually release the tension is, for me, a production travesty.
• Bondness: 3.5
  The Bond chords are there, but there’s not much beyond that because the song has nowhere to really go. It even lacks any of the power of greater Bond tunes (see below). It’s a Bond song in name but not necessarily in true feel.
• Radio: +0

19. “The Living Daylights” (1987) — 3.125 points

• Memorable: 2
  Unfortunately, the most memorable thing about it is that A-ha did this song, which seems like a strange choice that might make you listen, but when compared to much stronger vocalists who have been involved in this franchise, it makes for something not as memorable as I’d like. Still, at least doing impressions can be fun!
• Vocals: 4
  The contrast between the vocalists stands out in an interesting way that is almost funny. While I don’t hate the performances here, they’re, again, not inspiring. Some of the lines have potential, but the vocal takes have no real punch to them.
• Production: 4
  I appreciate the dedication to the 80s aesthetic here. The instrumentation is quite different from other outings in a way that feels fresh. However, there is not enough dynamic range and the chorus is sadly without much bite (a thing I’d expect and 80s tune to give me). The lyrics are also laughable despite being sung straight. The song gives the impression that still needed more time to develop.
• Bondness: 2.5
  The (synth?) horns add some Bond-ness to the 80s vibe and it does reference the film in its chorus. However, it needed more to tie it to the familiar Bond sound, and that’s sadly absent. I’m also not sure A-ha is a band capable of producing a true Bond song.
• Radio: +0

18. The Spy Who Loved Me / “Nobody Does It Better” (1977) — 3.375 points

• Memorable: 2
  I think the main line from the chorus can stick in your head, but mostly the song comes across as formulaic and largely forgettable. This despite the fact that Carly Simon is actually pretty great in general.
• Vocals: 6
  This is not Simon’s best performance. Her voice fits the ballad, but it doesn’t have the dynamic range or power of earlier incarnations, which better suit the Bond style I personally enjoy. There’s nothing unpleasant here, mind. Simon is very Simon, but I can think of better performances elsewhere in the franchise and in Simon’s career.
• Production: 4.5
  I get that they were trying to recreate Simon’s style here, but the production sounds far too much like a formulaic ballad for a TV show. It sounds nice, and it is perfectly competent for what it is, but it lacks any of the more compelling production qualities of songs farther down this list. The ending has a nice boppy quality to it, though.
• Bondness: 1
  It wasn’t even meant for a Bond movie and was instead submitted for consideration. As such, it lacks ALL of the signature sounds and only connects to the film by accident…and even then, not really.
• Radio: +0

17. “Tomorrow Never Dies” (1997) — 4.375 points

• Memorable: 3
  You might recognize the main line, but largely, the song lacks any real punch beyond its attempt to get Sheryl Crow to screech during the chorus. Mostly, though, you probably won’t remember anything but the part where she sings the name of the movie.
• Vocals: 1
  This is one of the worst vocal performances in the Bond franchise. Crow’s tone at almost any register is either hard to listen to or makes the idea of living suddenly unappealing (especially at the upper registers). She simply cannot sustain the high notes without an obnoxious nasally tonality or falling flat. This is one of the only Bond songs I will beg you to stop playing.
• Production: 7
  Structurally, the song is well produced and all but the vocal components are well balanced. There are some interesting rhythms, too. If sung by someone else, I suspect this would be a decent outing. It’s still somewhat formulaic and could do with a stronger buildup t
• Bondness: 6.5
  All the bits are here, though less thought through than in “GoldenEye,” which sets the standard for the Brosnan era. It is very clearly a Bond song in style and tone even if it isn’t enjoyable to listen to.
• Radio: +0

16. “You Only Live Twice” (1967) — 4.625 points

• Memorable: 5
  It is largely forgettable if not for the title and the period in which it exists. You might find yourself singing the chorus or enjoying some of the orchestra flourishes, though. I’ve certainly done that many a time.
• Vocals: 5
  The vocals fit firmly in that “perfectly fine but not especially memorable” category. Nancy Sinatra is fine, but there’s almost nothing to the performance beyond singing the song straight. While that may work for some, it mostly leaves me cold. The fact that I have to keep looking up who sang the song says a lot here.
• Production: 4.5
  The backing track (guitar and backup singers) creates a weird dissonance that doesn’t make me particularly interested in re-listening. It is also one of those songs that simply doesn’t go anywhere. It repeats its chorus and verse and that’s it. That might make it easy to sing along to, but it doesn’t make for inspired production.
• Bondness: 4
  It lacks the signature sound of Bond but is one of the most recognizable Bond themes, which accounts for most of its Bondness points. To me, being a famous Bond song is not what makes a great Bond song. This one, for me, isn’t great as a Bond song.
• Radio: +0

15. “Live and Let Die” (1973) — 4.75 points

• Memorable: 6
  If not for it being a Bond song, it would be forgotten as a lesser McCartney song. At least, that’s what my brother thinks. Me? I only remember this song because we played it during our James Bond show in high school marching band. Most of its points come from the fact that I recognize that other people absolutely know this song.
• Vocals: 5
  If you like McCartney’s vocals, you’ll probably like this song. If you don’t (my brother and I), this song isn’t bad so much as “eh, it’s fine.” I don’t personally consider this to be an inspiring performance, both because McCartney’s vocal contributions are less substantial than other Bond singers.
• Production: 5.5
  The lyrics leave much to be desired because there aren’t enough of them. Most of what makes this song unique are the time signature and dynamic changes, but they come across, to me, as things that exist for the sake of existing rather than existing because they make sense for the song. Mostly, I think the song jumps around from style to style instead of progressing between them, which others might like but which I find disruptive.
• Bondness: 2.5
  It’s a Paul McCartney and the Wings song first and a Bond song second. The lyrics may reference the movie title, but it’s most Bond-like feature is its aggression from its rock theming. I would like to see more done here, to be honest.
• Radio: +0

14. “The Man with the Golden Gun” (1974) — 4.875 points

• Memorable: 4
  I forgot it even though I’d watched the movie in February. However, once it started playing, I could immediately pick up the title line with Lulu’s vocal tick. Mostly, I give it points for being the most “karaoke party” of the Bond tunes.
• Vocals: 5
  There are some odd vocal choices here that are a bit grating. Lulu has a good voice overall, but it comes across as entirely too camp and entirely too musical theater for me. Maybe she’s trying too hard or they really wanted an over-the-top performance here; either way, I’m not a big fan.
• Production: 5
  The song is perhaps too straightforward and not particularly special. The instrumentation is fun, but because the song sounds and feels like musical theater (I kept thinking of “Rum Tum Tugger” from Cats), it comes across as too on-the-nose even for a Roger Moore film.
• Bondness: 5.5
  It has some of the signature stylings of the best Bond songs, including horns and bombast; however, while I do enjoy Broadway musicals, Bond movies are not Broadway musicals to me. Now, if you made this the theme song for a Broadway production of James Bond, I’d be fonder of it! Someone get on that…
• Radio: +0

13. “Moonraker” (1979) — 5.125 points

• Memorable: 3.5
  Alas, this is the most forgettable Shirley Bassey song, which is saying something because Bassey’s voice is probably the most recognizable in the franchise. Still, the dreamlike quality of the production and Bassey’s signature tones, though subdued, earn it some credit.
• Vocals: 5
  While the dreamlike quality of the song is commendable, it does mean that Bassey’s belting voice is pulled back too much for my tastes. Still, her tone and her vibrato are as delightful here as they are everywhere else even if the range and dynamic punches are, well, pulled.
• Production: 6.5
  A lot of credit goes to this song’s tone. The strings are delicious and almost haunting. You could easily get lost in this one if you let it take you to the moon (heh). It’s a fine offering which simply struggles to be more.
• Bondness: 5.5
  While I appreciate that the themes of this song are integrated into the movie, there’s something missing from this era of Bond songs: the signature horns, chords, and other elements which are found in songs farther down this list. That said, the return to the orchestra production is quite welcome.
• Radio: +0

12. “A View to a Kill” (1985) — 6.75 points

• Memorable: 5.5
  This is the most 80s Bond theme to ever exist, and there’s almost no way you can forget that Duran Duran did a Bond song. You will either love this one or hate it based on your musical tastes. My brother and I both thought it was quite a bit of fun even if it isn’t the strongest Duran Duran outing.
• Vocals: 5
  The quality of the vocals come and go depending on the part of the song you’re listening to. The chorus is particularly shouty and grating at times, which is a Duran Duran styling I would prefer to see subdued. How much you like the vocals may depend on whether you like Duran Duran, which will be a common theme here.
• Production: 6.5
  The 80s vibe makes for an interesting song with a lot of character. I’m a sucker for those 80s synths and production style, which may explain why I immediately start bouncing when this song comes on. The sound might not age that well for some, but I think it hits the mark on what it is trying to do.
• Bondness: 2
  The deviation to the 80s vibe means almost all of the Bond elements are completely absent here, which makes for a unique song but not a song that feels like it belongs in Bond; that said, the lyrics are in-line with what one expects for tunes for this franchise, which is a mark in its favor.
• Radio: +2

11. “For Your Eyes Only” (1981) — 7.25

• Memorable: 6
  This song is seared into my brain because it was one of the most memorable parts of my high school marching band Bond show. Setting that aside, it’s hard not to get earwormed hard by this song. The chorus (and the buildup to it) do exactly what a song of this kind should do: suck you in.
• Vocals: 5.5
  Sheena Easton is a competent singer here, though some of her vocals suggest she’s not comfortable at the upper ranges (some fraying and pitch dropping). I like her vocals, but I can also see how a singer with more character could make this stand out more than Easton seems immediately capable of.
• Production: 5
  Neither my brother and I are huge fans of Bond songs which essentially repeat their verse, pre-chorus, and chorus without much change. It gives the song a one-note quality that comes across as basic. That might be appropriate for a ballad, but it’s still dull. Additionally, the piano can be a bit cloying at times.
• Bondness: 4.5
  Like other songs from this era, the sound has less in common with the best Bond songs than it does with the era it’s in and what I describe as TV stylings. However, unlike other songs that have the same problem, I distinctly recall “For Your Eyes Only” featuring prominently in the soundtrack (with many variations), which gives it a boost here.
• Radio: +2

10. License to Kill (1989) — 7.375

• Memorable: 4.5
  The song has a lot of potential to hook you, but its chorus doesn’t punch nearly hard as the pre-chorus, in part because of its chord change and tone. The song would also be overshadowed by the next diva to take on the Bond song mantle (and which would perfect the stylings introduced here).
• Vocals: 9
  Gladys Knight takes the franchise back to stellar vocalists, and it makes for one of the best performances of the 80s Bond films. I don’t think you can listen to Knight’s vocals and not think they are about as perfect as you can get.
• Production: 8
  Someone graduated from music theory school for this one. Not only does the song include some excellent homages to the past, wonderful uses of percussion and horns, and backing choir, it also takes Bond song writing to another level with modulation (so many songs simply don’t bother). The instrumentation also beautifully compliments Knight’s voice here.
• Bondness: 8
  The song is a massive homage to Bassey’s “Goldfinger” in the introductory notes and in the selection of Knight. This actually works in its favor because there are immediate Bond chord references in the song’s structure (used with late-80s stylings). It’s probably the most Bond-like song of the 80s Bond films, and it’s probably the song responsible for the shift to what we now think of as the Bond song style.
• Radio: +0

9. “From Russia with Love” (1963) — 10.125 points

• Memorable: 8
  There are few Bond songs you’ll catch me immediately singing with full vibrato. Part of the charm of this song is that you can sing it even if you’re not a particularly good singer. The phrases are clear and direct and beautiful and, yes, memorable. “From Russia with love, I fly to you” is 100% earworm.
• Vocals: 8
  There is something utterly delightful about Matt Monro’s style here. He was called “the Man with the Golden Voice” for a reason. That smooth, velvety baritone voice is almost pure. Perhaps the only criticism here is the degree to which Monro resists playing with the cadence of the phrases, which means he’s singing straight to a fault. It’s still a beautiful performance, though.
• Production: 7.5
  The orchestration is beautiful and features some delightful flourishes that suggest the film’s primary setting of Istanbul. However, some points are lost here for the fact that John Barry couldn’t do more to give this a Turkish flavor (read about it) and for the song’s lack of movement in the melody. It’s a perfectly nice song that is easily sing-able, but it’s also a tad simple.
• Bondness: 8
  While most Bond films incorporate the Bond theme into the film score, “From Russia with Love” is incorporated in a way that makes it impossible to separate from the film. The orchestra version serves as the music for the opening credits and is written in variations throughout the film. Monro’s version is actually part of the end credits sequence, which means you spend an entire movie hearing the theme before you’re gifted with Monro’s performance. While I wouldn’t call this theming uniquely Bond (hence the imperfect score), it is inseparable from the film it was created for both in its composition and lyrics.
• Radio: +2

8. “Thunderball” (1965) — 10.25 points

• Memorable: 6.5
  “Thunderball” also sports a deliciously powerful (very much Bond-y) backing orchestration with those signature horn blares, something that would be replicated in many other Bond tunes over the years (indeed, John Barry, who scored Thunderball, was a key influence for future Bond composer David Arnold).
• Vocals: 9.5
  It’s hard to argue with the mesmerizing quality of Tom Jones’ voice in this tune. From the concluding high note to the breathy hints of emotion, Jones holds court in a way only a handful of James Bond singers have. With some 24 songs released to date, that’s a pretty impressive bar to clear.
• Production: 7.5
  Everything about the production is right. The wailing horns are there and properly integrated with an orchestra track fit for Jones’ voice. However, unlike other iterations of the Bond horn wail, this one relies too much on repetition even if the overall production is both suitably Bond and mesmerizing.
• Bondness: 9.5
  The Bondness is absolutely there, from the horn wails and orchestra stylings to the blatant Bond chords. There’s really not much to say here. It’s all there. You can hear it. You know it’s a Bond song.
• Radio: +2

7. Casino Royale / “You Know My Name” (2006) — 10.625 points

• Memorable: 6.5
  Personally, I think Chris Cornell was an exceptional choice for a male vocalist for a Bond song. However, unlike some other Bond songs, its hook doesn’t stand out nearly as much as other Bond tunes, which is partly because it is a rock song integrated into a Bond theme. I still love it, though.
• Vocals: 9
  If you like Cornell’s rock style, you’ll love the vocals. If you don’t, you’ll struggle with this one. For me, the vocals are exactly what I needed here, though some may find that the words are not always clear based on the way they are sung. Still, Cornell is an exceptional rock vocalist both in terms of his natural distortion and in technical ability. For me, it’s one of the best vocal performances among the more modernized Bond songs.
• Production: 9.5
  Overall, the production is clean with excellent integration between the orchestra and the rock sound which fit Cornell’s voice. The only real criticism is with the chorus, which has too much of a one-note quality in its opening phrase; this is a minor criticism, though. Additionally, the song benefits from avoiding merely repeating itself as other Bond tunes have and instead opts for a more modern pop song structure with a proper bridge.
• Bondness: 9.5
  All of the Bond theming is there, including horns, the Bond chords, and an excellent “diva” quality via Cornell’s rock vocals. It also is fully integrated into the film’s score, though primarily via orchestra production and not via the original rock elements.
• Radio: +2

6. Dr. No / “James Bond Theme” (1962) — 10.75 points

• Memorable: 10
  It’s literally the most memorable Bond tune of all time. Frankly, I should give this a 6/5 simply because you could play this for 100 people on a random street corner and almost everyone would immediately know what it is. Do I really need to say more here?
• Vocals: 0
  It’s almost unfair to judge the original Bond theme by the standards of the franchise. However, there really isn’t much choice. It is the Bond theme, but it is also not in line with we now mean by a “Bond song.”
• Production: 7
  Honestly, later reworks of the theme for orchestra have a better sound quality than they do in Dr. No. I think the original is largely fine as it is, but there were certainly better ways to produce this theme than given here. As is, the original is a tad repetitive and only has two dynamics: regular and brassy. Later iterations would expand those dynamics in more compelling ways.
• Bondness: 10
  It is quite literally the song upon which all Bond soundtracks are based. You will find the Bond chords originally composed here in literally every Bond movie. It is as Bond as a Bond song can get.
• Radio: +4

5. “The World is Not Enough” (1999) — 12 points

• Memorable: 7
  If this is your Bond era, you know the song; if it’s not, it will still earworm you pretty hard. The chorus is particularly strong because of its movement, which not all Bond songs are willing to do. The effect is a melody that is interesting to listen to (and sing).
• Vocals: 7
  Shirley Manson is used well here. She stays within her style and range, which means her vocals don’t collapse in a way that mars other Bond singers; essentially, we can’t see Manson’s limitations in the song itself. That said, the vocals aren’t exceptional. They work for what is needed here, but you won’t be particularly blown away.
• Production: 9
  The song excellently combines David Arnold’s orchestration with Garbage’s alt-rock styling. The result is a song with sweeping strings in the chorus, glorious chord changes, and fantastic dynamics. There is also something special about the outro, which once more changes chords and holds the tension until release back into the film proper. It’s a song that builds and then lets you go.
• Bondness: 9
  The orchestration for the chorus is beautifully integrated into the film’s score by David Arnold. Additionally, many of the Bond stylings (and interpolations of them) are strongly suggested throughout via the horn work and guitar. Finally, that outro is a brilliant move because of the way it integrates into the score proper. It’s a Bond song through and through.
• Radio: +4
• –Total: 12

4. Diamonds Are Forever — 12.225 points

• Memorable: 8.5
  There is only one Shirley Bassey song more memorable than “Diamonds Are Forever,” and that’s saying a lot for the strength of Shirley Bassey productions. However, unlike the best Bassey Bond song, this one comes in on the “just a tad underwhelming” side primarily because of its excessive repetition. You’ll sing along,
• Vocals: 9
  Shirley Bassey is phenomenal here, but it would be nice to hear her open up more at the top end, which she only does briefly. Still, you’d be hard pressed to find a singer with more vocal character than Bassey, and that really sends this one near the top.
• Production: 7.5
  While I enjoy the tension building towards the end and the soft Bond-esque bells opening, this one seems undecided on whether it wants a true tension-building or a tension-relieving ending. There’s also a bit of that “dropping back” flavor here, which is owed to an older pop style where bridges weren’t always used. The song has more places to go. Still, you can’t argue that it’s not beautiful to listen to.
• Bondness: 8
  The bells-like Bond chords in the background and opening stinger shot are very much in the Bond oeuvre. However, I think the song can ride those themed elements more acutely here or do more with them beyond what comes across as more reference than strongly meaningful interpolation.
• Radio: +4

3. “Goldfinger” (1964) — 13.75 points

• Memorable: 10
  There are no songs from this point on that are not maximally memorable. You know this song even if you’ve never seen the movie. From the start, the opening lyrics and Bassey’s stinging vocals pull you in and keep you there. This is THE Bond song that isn’t the original theme. Every other Bond song owes its existence to “Goldfinger.”
• Vocals: 10
  This is Bassey’s best contribution to the Bond universe. The way she sings her lines is full of so much character that you almost want to mimic her delivery when you sing along. Additionally, while Bassey delivers most of her lines with bite and energy, she knows when to pull back to bring us down before another buildup. This is basically perfect.
• Production: 9
  The only flaw in the production is sound quality. Either Bassey was recorded with overly sensitive mics OR the mix was such that her vocals sometimes fray at the upper registers. Despite that, the song’s composition is virtually flawless, from its incredible use of the wailing brass typical of Bond songs to its exceptional tension-building conclusion that actually releases with Bassey’s aggressive belting of “Gold.”
• Bondness: 10
  There is no greater Bond song than “Goldfinger.” As I said, this song establishes ALL of the standards by which I measure Bond songs. Does it have the Bond theming? Does it make excellent use of brass? Is it fully integrated into the film’s score? Is it absolutely and entirely Bond in character? Yes, yes, yes, and yes.
• Radio: +4

2. “Skyfall” (2012) — 13.875 points

• Memorable: 10
  If you don’t know this song yet, you need help. There are few Bond songs which transcends its original intended medium (i.e., a Bond movie). “Skyfall” is one of them. In fact, it’s the 1st Bond song to win an Oscar for Best Original Song, a feat even Paul McCartney and Sheena Easton couldn’t manage despite being nominated in their respective years. People know this song, and for good reason. It’s that good.
• Vocals: 9.5
  Adele’s uncanny ability to control her tone and levels is on display here. She is virtually perfect on every note and makes deliberate and meaningful choices about the placement of vocal runs and vibrato. Even her vocal phrasing is on point here. If there’s one criticism I could make here, it’s that Adele can belt more than she does here, and that feels like a missed opportunity compared to my #1 pick.
• Production: 10
  Structurally, the song is designed to build and build by adding elements, from the delicate piano to the simple bass to the orchestra in the chorus and so on. Even when the song pulls back after the first chorus, it only drops a few steps so it can build even higher. The result is a song that is both beautiful in sound quality and orchestration but also increasingly emotionally intense with each successive addition. Honestly, it’s just a beautiful song!
• Bondness: 10
  Every element is here, including its integration into the film, its clever use of the Bond chords, its horn and string stingers and flourishes, and its minimalist use of Bond-esque guitars. Naturally, the lyrics are among the strongest and most poetic without descending into simplistic storytelling or meaningless phrasing. This is the pinnacle of the Bond song for the Craig era.
• Radio: +4

1. “GoldenEye” (1995) — 14 points

• Memorable: 10
  For me, there is no more memorable Bond song than Tina Turner’s “GoldenEye,” both for its captivating melody and for Turner’s sultry and dynamic vocals. Additionally, there are few songs I would say become measuring sticks for future Bond tunes, and this is one of them precisely because it is the kind of song that sucks you in and doesn’t let you go.
• Vocals: 10
  Tina Turner is mesmerizing here. There is no other singer in the entirety of the Bond franchise that matches her use of vocal range, dynamics, or power. Even when phrases repeat, she finds ways to make them sound original, flipping to falsetto or using a glissando technique no doubt pulled from her soul music background. More importantly, she gets stronger as the song goes on, pulling us ever deeper into her world.
• Production: 10
  Everything about this song is so well produced that I have willingly changed my mind on the brilliance of Bono and The Edge, who composed the song. Structurally, the song is designed to build up and build up (much like “Skyfall”), beginning with plucked strings and a minimalist percussion track that accentuates the early silences. Once the song hits its pinnacle, Turner’s vocals and the entirety of the band and orchestra have already taken us to the promised land but still have room to journey. And journey it does. It is as perfect as you can get, I think.
• Bondness: 10
  You can hear the Bond theming all over this song. However, I think it’s worth pointing out that much of this song’s sound became new staples for what we think of as part of the Bond sound. Those plucked chords have technically existed before, but their presentation here helped cement them as default Bond musical stylings. More importantly, the song’s lyrics and tone are in keeping not only with what the greatest Bond songs do but also with the film’s story and score. “GoldenEye” is to modern Bond songs what “Goldfinger” was to the first generation of Bond songs. That’s not an easy status to earn.
• Radio: +4

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And there you have it! If you have thoughts, put them in the comments. Also: go create your own list if you so dare!