"For Your Eyes Only (soundtrack) For Your Eyes Only is the soundtrack for the 12th James Bond film of the same name. The theme song was written by Bill Conti (music) and Michael Leeson (lyrics), and performed by Sheena Easton. The song was later nominated for both an Academy Award and Golden Globe in 1982. Easton also made Bond film history as the first (and, to date, only) artist to perform the theme song on-screen during the opening title sequence. Originally, the band Blondie was approached to write and perform the theme song for the film. They produced a song"
"after producers Albert R. Broccoli and Harry Saltzman were worried that a theme song to a James Bond film would not work well if the song did not have the title of the film in its lyrics. Barry then teamed up with lyricist Don Black and wrote ""Thunderball"", which was sung by Tom Jones, who according to Bond production legend, fainted in the recording booth when singing the song's final note. Jones said of it, ""I closed my eyes and I held the note for so long when I opened my eyes the room was spinning."" Country musician Johnny Cash"
"end credits is David Arnold's ""Casino Royale"" track ""The Name's Bond…James Bond"". Despite this, the film's score was composed by Thomas Newman, who also incorporated the ""James Bond Theme"" throughout the entire film. In ""Spectre"", the theme appears at the beginning of the film as part of the opening gunbarrel sequence, indicating a return to the franchise's classic roots of 1962–2002. Over 70 cover versions of the ""James Bond Theme"" have been recorded by artists such as: 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"
"and her label, Arista, caused a pause in her recording career. She used the time to appear on movie soundtracks, television commercials and guest vocals, working with Chuck Mangione, The Whispers and The Four Tops. Hyman provided vocals for three tracks on jazz pianist McCoy Tyner's ""Looking Out"" (1982). She toured often and did a college lecture tour. In 1983, Hyman recorded the song ""Never Say Never Again"" as the title song for the James Bond movie of the same name, written by Stephen Forsyth and Jim Ryan. However, Warner Brothers informed Forsyth that Michel Legrand, who wrote the score"
"""Billboard"" Hot 100. Alpert would later contribute a trumpet solo to the title song of the ""unofficial"" 1983 James Bond film ""Never Say Never Again"" (which was sung by Alpert's wife, Lani Hall). The film features the song ""The Look of Love"" performed by Dusty Springfield. It is played in the scene of Vesper Lynd recruiting Evelyn Tremble, seen through a man-size aquarium in a seductive walk. ""The Look of Love"" was nominated for the Academy Award for Best Song. The song was a Top 10 radio hit at the KGB and KHJ radio stations. It was heard again in"
"be performed by Shirley Bassey, after ""Goldfinger"" in 1964. In an interview for the television programme ""James Bond's Greatest Hits"", composer John Barry revealed that he told Bassey to imagine she was singing about a penis. Bassey would later return for a third performance for 1979's ""Moonraker"". The original soundtrack was once again composed by John Barry, his sixth time composing for a Bond film. With Connery back in the lead role, the ""James Bond Theme"" was played by an electric guitar in the somewhat unusual, blued gun barrel sequence accompanied with prismatic ripples of light, in the pre-credits sequence,"
"Love"" is the first Bond film in the series with John Barry as the primary soundtrack composer. The theme song was composed by Lionel Bart of ""Oliver!"" fame and sung by Matt Monro, although the title credit music is a lively instrumental version of the tune beginning with Barry's brief ""James Bond is Back"" then segueing into Monty Norman's ""James Bond Theme"". Monro's vocal version is later played during the film (as source music on a radio) and properly over the film's end titles. Barry travelled with the crew to Turkey to try getting influences of the local music, but"
"Bond was shown to be wearing a watch by Omega, and he has since worn Omega watches in every subsequent production. The theme song, ""GoldenEye"", was written by Bono and the Edge, and was performed by Tina Turner. As the producers did not collaborate with Bono or the Edge, the film score did not incorporate any of the theme song's melodies, as was the case in previous James Bond films. Swedish group Ace of Base had also written a proposed theme song, but label Arista Records pulled the band out of the project fearing the negative impact in case the"
"decision of the producers not to use Monty Norman, though keeping his ""James Bond Theme"", Harry Saltzman decided on using the then popular Lionel Bart of ""Oliver!"" fame. Bart was unable to read or write music, but he offered to compose the music and lyrics for a title song to the film. The producers chose John Barry to score the film. Barry had not only arranged and conducted the ""James Bond Theme"" from the previous film, but had already scored some films such as ""Beat Girl"" and ""Never Let Go"". Barry's group also charted at 13 in the November 1962"
"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. The song was originally recorded by Shirley Bassey. When there were problems with Bassey's singing it was later rerecorded by Dionne Warwick 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. Both versions were not released until the 1990s. The song was removed from the title credits after United Artists requested that the theme song"
"Shirley Bassey Dame Shirley Veronica Bassey, (; born 8 January 1937) is a Welsh singer whose career began in the mid-1950s, best known both for her powerful voice and for recording the theme songs to the James Bond films ""Goldfinger"" (1964), ""Diamonds Are Forever"" (1971), and ""Moonraker"" (1979). In January 1959, Bassey became the first Welsh person to gain a No. 1 single. In 2000, Bassey was made a Dame for services to the performing arts. In 1977 she received the Brit Award for Best British Female Solo Artist in the previous 25 years. Bassey has been called ""one of"
"Goldfinger (Shirley Bassey song) ""Goldfinger"" is the title song from the 1964 James Bond film ""Goldfinger"". Composed by John Barry and with lyrics by Leslie Bricusse and Anthony Newley, the song was performed by Shirley Bassey for the film's opening and closing title sequences, as well as the soundtrack album release. The single release of the song gave Bassey her only ""Billboard"" Hot 100 top forty hit, peaking in the Top 10 at No. 8 and No. 2 for four weeks on the Adult Contemporary chart, and in the United Kingdom the single reached No. 21. The song finished at"
"morning on October 11, 2006. The soundtrack was released on November 14, 2006. Various names were reported in the media prior to the announcement, some reports going so far as to have the performers apparently claim they were working on the theme. This list includes Tina Turner who previously sang ""GoldenEye"" for the 1995 Bond film of the same name, and Tony Christie. The ""Casino Royale"" title song ""You Know My Name"" by Chris Cornell is not featured on the soundtrack album, but released separately as a single. However, motifs from the song serve as Bond's theme throughout the film,"
"for the film. Swedish pop band, Ace of Base also recorded a song that was optioned to the studio. Ace of Base's ""The GoldenEye"" was later reworked into ""The Juvenile"" which appeared on their ""Da Capo"" album in 2002. GoldenEye (song) ""GoldenEye"" is a song performed by Tina Turner, and the eponymous theme song for the 1995 James Bond film, ""GoldenEye"". Released as a single in November 1995, the song was a big chart hit in Europe, topping the Hungarian Singles Chart and reaching the top five in Austria, Finland, France, and Switzerland, as well as number 10 on the"
"given to Bond by Q, it was also a Geiger counter in the plot. ""Thunderball"" was the third James Bond score composed by John Barry, after ""From Russia with Love"" and ""Goldfinger"". The original title song was entitled ""Mr. Kiss Kiss, Bang Bang"", taken from an Italian journalist who in 1962 dubbed agent 007 as Mr. Kiss Kiss, Bang Bang. The title theme was written by Barry and Leslie Bricusse; the song was originally recorded by Shirley Bassey, and later rerecorded by Dionne Warwick, whose version was not released until the 1990s. The song was removed from the title credits"
"UK charts with a different arrangement of the Bond theme from that heard in the film. The title song was sung by Matt Monro. Monro's vocal version is played during the film (as source music on a radio) and properly over the film's end titles. The title credit music is a lively instrumental version of the tune preceded by a brief Barry-composed ""James Bond is Back"" then segueing into the ""James Bond Theme"". On the original film soundtrack, Alan Haven played a jazzy organ over the theme but this version was not released on the soundtrack album. The tune also"
"James Bond Theme 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 almost every James Bond film. The ""James Bond Theme"" has accompanied the opening titles twice, as part of the medley that opens ""Dr. No"" and then again in the opening credits of ""From Russia with Love"" (1963). It has been used as music over the end credits for ""Dr. No"", ""Thunderball"" (1965), ""On"
"the title ""On Her Majesty's Secret Service"" unless it were written operatically, in the style of Gilbert and Sullivan. Leslie Bricusse had considered lyrics for the title song but director Peter R. Hunt allowed an instrumental title theme in the tradition of the first two Bond films. The theme was described as ""one of the best title cuts, a wordless Moog-driven monster, suitable for skiing at breakneck speed or dancing with equal abandon."" Barry also composed the love song ""We Have All the Time in the World"", with lyrics by Burt Bacharach's regular lyricist Hal David, sung by Louis Armstrong."
"was originally proposed as the opening credits music, only to be replaced by the eponymous title track as sung by Tom Jones. ""On Her Majesty's Secret Service"" featured an instrumental theme tune, something which remains unique amongst the post-""From Russia with Love"" films, and included a vocal theme in the form of Louis Armstrong's performance of ""We Have All the Time in the World"", written by John Barry and Hal David. A number of Bond films include one (or more) additional songs in the soundtrack. Some of these pieces of music, such as ""We Have All the Time in the"
"the instrumental score versions of songs, while the main musicians (on Goldfinger: Vic Flick) were given the main film theme song to solely record, to be featured at the beginning of the film. Co-producer Harry Saltzman is said to have hated the song as too old fashioned for 1960s youth culture and only agreed to use it when persuaded by Albert Broccoli Originally, Newley recorded a version of the theme song, but it was later re-recorded with Bassey's voice for the film and soundtrack album. In 1992, Newley's version was released for the 30th Anniversary of James Bond on film,"
"performer in the history of the series. Originally, British pop duo Pet Shop Boys was asked to compose the soundtrack, but backed out when they learned that they should not provide a complete soundtrack but merely the opening theme song. In a departure from conventions of previous Bond films, the film uses different songs over the opening and end credits. The song heard over the end credits, ""If There Was A Man"", was one of two songs performed for the film by Chrissie Hynde, of the Pretenders. The other song, ""Where Has Everybody Gone"", is heard as source music in"
"Cash, B. B. King, Tina Turner, Ronnie Wood, Jah Wobble, Holger Czukay, Jay-Z, and Rihanna. The Edge connected with Brian Eno and Daniel Lanois collaborator Michael Brook (the creator of the infinite guitar, which he regularly uses), working with him on the score to the film ""Captive"" (1986). From this soundtrack the song ""Heroine"", the vocal of which was sung by a young Sinéad O'Connor was released as a single. He also created the theme song for season one and two of ""The Batman"". He and fellow U2 member Bono wrote the theme of the 1995 James Bond film ""GoldenEye""."
"first James Bond theme song to be nominated for an Academy Award for Best Original Song (garnering McCartney his second Academy Award nomination and Linda her first). In the Academy Award performance of the song, entertainer Connie Stevens dressed in a ""silver-lamé outfit"" with a Native American-looking headdress ""descended from the ceiling"" and then was ""variously lifted and tossed about"" by dancers dressed in various colours until she left the scene. The song lost to the eponymous theme song from the musical film ""The Way We Were"". In Wings' live performances of the song, the instrumental break featured flashpots and"
"mid-December 1982. The completed lyrics for ""All Time High"" would include the line ""We're two of a kind"" which in the movie is spoken by the Octopussy (played by Maud Adams) to James Bond (Roger Moore), and the title evidently refers to the key aerial sequences featured in the movie. Prior to Rita Coolidge being assigned the ""Octopussy"" theme, Mari Wilson was a contender, a British singer whose retro-image evoked the mid-'60s when the Bond series originated; but Wilson's lack of a US-profile led to a negative decision. In January 1983, the producer of ""Octopussy"": Cubby Broccoli, stated that he"
"soundtrack was also released in quadrophonic. Having recorded McCartney's performance, Martin was taken aback when Saltzman asked him who he thought should sing the film's title song, suggesting to him Thelma Houston. Saltzman had envisaged a female soul singer. Martin said that it should be McCartney. He nonetheless scored a soul arrangement to accompany singer B. J. Arnau for a nightclub sequence in the film. ""Live and Let Die"" was the first time that a rock music arrangement was used to open a Bond film. It was also the first time that McCartney and Martin had worked together since ""Abbey"
"the role of Silvia, in the original London production of the rock musical ""Two Gentlemen of Verona"", and sang on the cast recording of it. Then followed the performance for which Arnau is best remembered; as the cabaret act in the James Bond film ""Live and Let Die"" (1973). She performed the title track (composed by Paul and Linda McCartney). The producer, Harry Saltzman, requested a talented and versatile soul singer for the opening credits but Arnau's appearance was an amazing surprise. The soundtrack's composer and producer George Martin indicated that “McCartney would only allow the song to be used"
"a theme for James Bond given to them by Monty Norman. Barry was hired and the result was one of the most famous signature tunes in film history, the ""James Bond Theme"". (Credit goes to Monty Norman, see here.) When the producers of the Bond series engaged Lionel Bart to score the next James Bond film ""From Russia with Love"" (1963), they discovered that Bart could neither read nor write music. Though Bart wrote a title song for the film, the producers remembered Barry's arrangement of the James Bond Theme and his composing and arranging for several films with Adam"
"approached producer Cubby Broccoli at a party, and somewhat drunkenly asked ""When are you going to get someone ""decent"" to do one of your theme songs?"" During the opening sequence, a cover version of the 1965 Beach Boys song ""California Girls"", performed by Gidea Park with Adrian Baker (a tribute band), is used during a chase in which Bond snowboards; it has been suggested that this sequence helped initiate interest in snowboarding. This was the first Bond film with a premiere outside the UK, opening on 22 May 1985 at San Francisco's Palace of Fine Arts. The British premiere was"
"to the first James Bond movie Dr No, and has been credited with writing the ""James Bond Theme"", the signature theme of the James Bond franchise. Norman has received royalties since 1962 for the theme, but it was arranged by John Barry after the producers were dissatisfied with Norman's music. Barry claims that he actually did write the theme, but nevertheless, Mr. Norman won two libel actions against publishers for claiming that Barry was the composer, most recently against The Sunday Times in 2001. During the trial, Barry testified on the stand that he had composed the James Bond Theme,"
"tax problems, John Barry returned to do his ninth Bond score. Barry made frequent references to the James Bond Theme to reinforce ""Octopussy"" as the official Bond film, given that motif could not be featured in ""Never Say Never Again"", and opted to include only subtle references to the music of India, avoiding instruments such as the sitar for feeling that authentic music ""didn't work dramatically"". He also wrote opening theme ""All Time High"" with lyricist Tim Rice. ""All Time High"", sung by Rita Coolidge, is one of seven musical themes in the James Bond series whose song titles do"
"would be immobile during a take where the camera zooms on the singer's lips. This was one of the few Bond themes not to have a contribution by John Barry. The song was produced by Christopher Neil, who was Easton's regular producer at the time. The song was released as a single in June 1981, at the same time as the film's launch. It became a worldwide hit, reaching the top ten in the UK, number 1 in the Netherlands and top five in the US. It remains one of Easton's biggest hits and is included on compilation soundtrack albums."
"and orchestrated the ""James Bond Theme"", was unavailable during production. Broccoli and Saltzman instead asked Paul McCartney to write the theme song. Since McCartney's salary was high and another composer could not be hired with the remainder of the music budget, George Martin, who had been McCartney's producer while with The Beatles, was chosen to write the score for the film. ""Live and Let Die"", written by McCartney along with his wife Linda and performed by their group Wings, was the first true rock and roll song used to open a Bond film, and became a major success in the"
"being said in the theme song, Conti decided to work with Leeson to write lyrics that opened with ""for your eyes only"". Easton is the only artist (to date) to be seen singing the theme song to a Bond movie during its opening titles, as Maurice Binder liked Easton's appearance and decided to add her to the credits. Her seductive appearance in these clips was, according to Roger Moore, more sexy than any of the Bond girls, although Easton herself states that the filming process was very unglamorous. In particular, Binder had to attach Easton to a chair so she"