halsey from the new world amv conji 2016

#Halsey from the new world amv conji 2016 movie#

Black’s lyric is pure callous poetry that belies the river of underlying heartbreak that would cause a woman to give up on love and eroticize baubles. Cooler heads prevailed, and the team was able to actually outdo “Goldfinger,” even if it wasn’t the same kind of pop phenomenon. Maybe that’s because Barry gave this instruction to Black: “Write it as if she’s thinking about a penis.” The Bond producers worried that it was too outrightly “dirty,” even if she was singing about something available at Tiffany’s. But it’s still one of the sexiest songs ever written, even if she’s seemingly swearing off the need for touch altogether. Shirley Bassey and the writing team of John Barry and Don Black take the basic joke of “Diamonds Are a Girl’s Best Friend” and accentuate the material cynicism to a level that suggests the singer has transcended the need for human contact and become a goddess, at one with the mineral. Not just one of the great Bond themes, but one of the most finely crafted pop songs ever. 1 Shirley Bassey, “Diamonds Are Forever” (from “Diamonds Are Forever,” 1971) Unless that would be another Bassey/Barry track, of course.

#Halsey from the new world amv conji 2016 movie#

It is, dare we say, the gold standard of all movie music. It’s kind of ridiculous, if you step back and think about it - rhyming “Goldfinger” with “cold finger” and letting it stop there, because there’s nowhere to go from there except for maybe “a bold linger.” But you don’t step back and think about it because the combined power of Shirley Bassey, John Barry, Anthony Newley and Leslie Bricusse has left you as dead in your tracks as if you’d been spray painted in your sleep. No,” 1962)Ģ Shirley Bassey, “Goldfinger” (from “Goldfinger,” 1964) 3 John Barry & Orchestra, “James Bond Theme” (from “Dr. It’s on a par with “The Windmills of Your Mind,” yet another great mind game from the period. In the hands of Sinatra and her writers and producers, the theme became clearer: Ye must be born again… as a lucid dreamer with a rich fantasy life beyond mundane daily life. For Ian Fleming, it was just a clever title for a novel, evocative of who knows what in the lively, deadly game of spy vs. Sinatra recorded two different versions of this song, one for the film and one for a hit recording, and either will suffice in bringing the listener into the dream state suggested in John Barry and Leslie Bricusse’s exquisite song, one of the greatest of all ’60s movie ballads. 4 Nancy Sinatra, “You Only Live Twice” (from “You Only Live Twice,” 1967) The 007 franchise needed a sad song or two, but somebody did it better. Yes, Adele and Eilish also went with somber ballads for the films that bookend this one, but they didn’t start draining allthe sex and danger out of those movies right at the beginning.

But it’s a falsetto-dawdling tune that’s deeply and self-consciously in love with its own moroseness, to a level unbecoming of a Bond movie - even a Bond movie as elegiac as the Daniel Craig entries can be. It’s not even that it’s a terrible piece of songcraft or production in the context of a Sam Smith album, it might even be a starkly melodramatic highlight. Is it possible for a number that was only the second tune in Bond history to win the best song Oscar to be the worst entry in the series? Why, yes, since you ask, it is.

That could be Paul McCartney juxtaposing a sinister strings break with a goofy reggae bridge in “Live and Let Die,” or it could be Eilish and Finneas working a subtle sliver of Monty Norman’s “James Bond Theme” into their otherwise somber entry before bringing it home with the “spy chord”… the E minor Major 9 that will mean “Bond, James Bond” for the rest of time. The fact is, we love our post-Shirley Bassey Bond music most when it adheres to tradition in some ways while upending it in others. A caveat: I have at least a twinge of respect or affection for every tune in the catalog - even the Jack White and Madonna tracks, which kind of deserve the black eyes they get from the vast majority of Bond buffs, but which deserve at least a little credit… okay, a very little credit… for fearlessness in shaking up what can lean toward a rather algebraic formula.

What follows is an unassailable list of 26 Bond songs rated from worst to best.

And in the case of the film of that name, a long-distant Bond song has also been revived for the new soundtrack - Louis Armstrong’s “We Have All the Time in the World” - the impact of which may cause everyone to completely rethink where that love theme from “On Her Majesty’s Secret Service” ranks, now that it puts us in mind of sad Daniel Craig instead of sad George Lazenby. We have all the time in the world… to debate the relative merits of 50 years of James Bond music, as we do each time a new entry, like Billie Eilish’s “No Time to Die,” is added to the canon.