10 Rejected James Bond Songs Better Than The Movie Versions



Ace of Base also submitted a melody for the film, but were removed from dispute through their label, Arista Records. Still, it’s a great single, and luckily released on their album Da Capo in the form of “The Juvenile”, which is actually the same song with “goldeneye” replaced with “juvenile”. It’s also a good game to know where the franchise was point: in transition. Ace of Base’s slow, pop melody balances sounding more modern for the era while not completely abandoning the vibe of classic Bond-era orchestral themes.

8. Tomorrow Never Dies – “Surrender” by kd lang

When longtime Bond scorer John Barry left the franchise halfway through Timothy Dalton’s time in the role, the search was on for the person who would bring a similar sensibility to the next era of Bond scores. . Enter David Arnold, who often cited Barry as a favorite, and was a more than fitting choice to pursue his style. From that moment on, many performers sought the tomorrow never dies concert, and ultimately Canadian pop singer kd lang was cast. But after the producers pumped $100 million into the film, they changed their minds, opting instead for a more high-profile artist to perform the theme. Chart-topping Sheryl Crow was brought in.

Lang’s version, titled “Surrender”, was included in the film’s ending title sequence, but there is a big difference between the weight of a Bond film’s opening and the closing credits. Even still, the end credits were a good showcase for how beautiful Lang’s tune is and how perfectly in tune it is with the franchise. With all due respect to Crow’s voice, both in a general sense and throughout “Tomorrow Never Dies”, Lang’s mezzo-soprano voice sounds much less forced, and although the film is l One of Bond’s most explosive adventures, he enjoys classic 007 adventure elements. The same could be said of the mood given off by Lang’s “Surrender”.

9. Quantum Of Solace – “No Good About Goodbye” by Shirley Bassey

Quantum of Comfort had a notoriously rough road during production. In addition to a writer’s strike that nearly made it all sink (and some would say the strike always did), there was trouble getting a theme song written. Naturally, Quantum of Comfort is a mouthful of a title to vocalize into a melody, but that wasn’t the main issue. The main problem for the producers was getting their first choice in the recording studio: Amy Winehouse. As Comfort, the late Winehouse was in a difficult position at the time, and eventually the combination of Jack White and Alicia Keys was brought in at the last minute to replace her. The result is a song that makes you want to listen to the jazzier melodies of a unique singer like Winehouse.

White and Keys created what would come to be called “Another Way to Die”, perhaps the closest song to a Bond song that has become interchangeable with modern rock tunes on the radio. Although there are conflicting versions of the story as to whether it was really intended to be a Bond song, the producers would have been better off going with Shirley Bassey’s song, “No Good About Goodbye”. Based on composer David Arnold, only a few lines of the song had been written before White and Keys were cast in the film, and it wasn’t until later that he worked to complete the melody with Bassey. But there’s no denying that the theme bears more than a passing resemblance to the Bond aesthetic, evoking the retro vibes of the Connery years, combined with lyrics that paint the picture of a suffering man: “Where is the comfort I do I want? Will it still haunt me to my grave? That alone would make it at least a plus logic choice for a movie where Bond deals with heartbreak. Not to mention, Bassey is a Bond songwriting legend, so going with anyone but her is a bit of a headache.

10. Spectrum – Radiohead

“My hunger is burning a bullet hole. A ghost of my mortal soul. The only truth I can see. Specter came to get me. These are the lyrics that close Radiohead’s rejected theme for Spectrum, and they couldn’t be a better fit. It’s quite surprising that Radiohead was rejected at all, but given the strength of their “Spectre”, it’s really hard to determine why Sam Smith’s “Writing’s on the Wall” was chosen over it.

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