Meanwhile, composer David Arnold was picking up the conductor’s baton on the film’s score, having just won a Grammy for his work on Independence Day and also impressing Broccoli and Wilson with “Shaken And Stirred”, his album of Bond theme covers by popular artists. The title seemingly wasn’t the only seat-of-the-pants decision on this tumultuous production, which we’ve detailed in a recent episode of the Film Stories podcast. Infamously, a typo gave the producers the alternative option of Tomorrow Never Dies, which they eventually took, even though it makes as much sense with the film as Quantum Of Solace does for a film where “Quantum” is also the name of an off-brand SPECTRE. It’s worth mentioning that the title of the 18th James Bond film started out as Tomorrow Never Lies, which would have been the slogan of the evil media empire that runs up against Pierce Brosnan’s Bond. Wilson decided to put out an informal call for title song submissions. Following the chart success of GoldenEye’s title track (written by Bono and the Edge and performed by Tina Turner) producers Barbara Broccoli and Michael G. In later years, as the producers have courted big chart stars, the songs have often been separated from the scores, leading to a process of tendering such as the one that started with 1997’s Tomorrow Never Dies.Īrtists have always submitted their own prospective Bond songs to producers, and unused tracks over the years include Johnny Cash’s “Thunderball”, Blondie’s “For Your Eyes Only”, and (most recently) Radiohead’s “ Spectre”. What makes a great James Bond theme song? Traditionally, it has to sound good over silhouettes of women, guns, and other 007-related iconography, but in eras past, composer John Barry’s involvement in writing title tracks would lead to his unforgettable motifs being interpolated into the score too.
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