Spires, Ethan Spires

Over the last seven decades and across over twenty feature films, no other spy has captivated culture as much as Bond, James Bond. After overseeing six actors’ portrayals of 007, the Broccoli family has moved on from the franchise and handed the reins to Amazon, who are now in development on a new Bond era. While we can speculate to great lengths as to who should take up the mantle (and why it should be Jack Lowden), there is value in looking back and attempting to define the previous iterations of the character by the one formal element they always shared: the Bond theme. 

But what makes a good Bond theme? For starters, a degree of thematic relevance. A movie as upbeat as The Man with the Golden Gun (1974) does not match the sombre but powerful theme of Skyfall (2012), just as Duran Duran’s theme for A View to a Kill (1985) can’t match the quieter moments of reflection in No Time to Die (2021). Likewise, the song should hearken back to the intrinsic vibe of Bond himself: smart, smooth, and singular. 

Another key marker of greatness is the longevity of the song’s presence in culture. Certainly, “Skyfall” by Adele has maintained relevance, with new versions finding success on TikTok, while the classic theme by John Barry in Dr. No (1962) is forever in the zeitgeist. 

However, many Bond songs could be considered ‘of their time,’ most notably Garbage’s theme for the Brosnan-led The World is Not Enough (1999). Many of the Bond films starring Roger Moore also suffer from a similar lack of time, with songs like Carly Simon’s “Nobody Does it Better” feeling like a 60s ballad trapped in the late 70s era of disco.

Based on these criteria, let’s look at each era of Bond and see if we can find a distinctive theme for each. The obvious out of the way first: Sean Connery ushered in the character with the classic, distinct 007 theme. Thematically, it defines Bond instantly and matches the sleek spy-thriller vibe of Dr. No, while its longevity is not only felt in the franchise but in the cultural zeitgeist across the globe. I would be remiss, however, if I did not mention Nancy Sinatra’s “You Only Live Twice” as a strong contender for defining the specific era of Connery as James Bond. 

Looking to the entries heralded by Roger Moore, which can only be described as campy and ‘fun,’ there are multiple contenders for era-defining tunes: the most famous and well-known, Wings’ “Live and Let Die,” gains significant points in the aggregate for its sustained relevance across the decades, while Sheena Easton’s “For Your Eyes Only” is a classic early-80s power ballad that hearkens to the more romantic, smooth side of 007. 

Between the two, it is clear that Paul McCartney and Wings’ work on the first Moore-led Bond film set a precedent and expectation for the new actor taking up the mantle. It is slow and steady until it famously launches into a classic, fast-paced melody that changes audience expectations — they are certainly more willing to accept boat chases and alligator attacks.

Timothy Dalton would only do two films, but both are celebrated for their solid action and great themes: A-ha’s “The Living Daylights” and Gladys Knight’s “Licence to Kill.” I am inclined to argue that “Licence to Kill” is the perfect encapsulation of not just this era but this decade of Bond. A smooth, 80s ballad that feels both connected to the character’s ethos and its place in the Bond mythos. The film’s title, the same as the song’s, feels like a choice to reconnect with his more logistical, sleek past. By combining that with a thematically dense song like “Licence to Kill,” the song defines Dalton’s time as 007.

Pierce Brosnan’s Bond era is less concerned with its themes than its change in filmic style towards more heightened, plot-twist-based narratives that feel like they are trying to match up to something like Mission: Impossible. Therefore, none of the songs feel as thematically connected to their respective films, as they present a much broader style that is more concerned with current popularity than thematic cohesion. 

Songs by Garbage and Madonna do not fit the quintessential ‘Bond’ framing, but of the contenders, Tina Turner’s theme for GoldenEye (1995) is the strongest because it elects to reinterpret the original John Barry theme. Turner’s song is quieter, with sporadic bursts of louder horns and instrumentation that make it feel much closer to a rollercoaster ride compared to the other themes of his era.

This brings us to Daniel Craig, whose portrayal is multilayered and emotionally resonant because his era maintains plotlines throughout the films. This was a double-edged sword, given that the themes would also come to maintain their style during much of his tenure. 

And while Adele’s “Skyfall” is the anticipated pick, I am going to point to Chris Cornell’s “You Know My Name” for Casino Royale (2006). Craig is a Bond without quips, preferring a smouldering look that matches his physical prowess. By going from Madonna to Cornell, with a rock song that includes an explosive chorus, the theme, and the movie, defines Craig’s era as immediately more raw, grounded, and exciting. 

If you have been counting, you may have noticed there are only five Bond eras in this list despite six actors portraying him. That’s because George Lazenby’s single performance as 007, in On Her Majesty’s Secret Service (1969), is often forgotten despite it containing maybe the best singular Bond theme. 

Louis Armstrong and John Barry made a song about love and empathy in a franchise about death and shallow connections. It is second, in my mind, only to the original theme, especially as it has (to date) bookended the franchise with a reprisal of the theme in the final Craig film. 

Now, however, the keys to 007 are in the hands of Amazon and Denis Villeneuve, and where they may go with their theme selection is yet to be determined. If I can offer some future advice (that will never be heard by them), the Bond theme is best when it not only complements the film but complements what it means to be Bond, James Bond. For now, when it comes to Bond, we have all the time in the world to speculate.