In March I took a look at some of the early James Bond theme songs and music, whether used or rejected, that were created by lgbt+ artists. Today I finish off with the music from Daniel Craig’s term as 007.
Casino Royale (2006) – This “official” film version, as opposed to the 1967 cult spoof version I mentioned last time, was Daniel’s first appearance as James Bond. The music and theme song were not written or performed by an lgbt+ artist, but one of the “rejected” songs (which was never actually written!) was.
In 2006, when talk of the new James Bond was filling the internet rumour machines, news that the British electro-band Goldfrapp had been asked to write and perform the “Casino Royale” theme song.
Goldfrapp consists of Alison Goldfrapp (b.1966) and Will Gregory (b.1959). Alison has been reported to have been in relationships with both men and women (not at the same time). In an interview in 2010 she said that her then current relationship was with a woman, and that she was not a big fan of labels. This was reiterated in another interview given last year, when she was in a relationship with a man. In that interview she described her sexuality as “straight-ish”.
Back in 2006 the British tabloid press was full of news “confirming” that Goldfrapp had been asked to write the theme song. This was followed up with later reports that they had been dropped because the producers had decided on a more hard-edged Bond and needed a hard-edged theme to go with it, which they thought Goldfrapp could not supply. As with the Pet Shop Boys and “The Living Daylights” (see part 1) the truth wasn’t quite the same.
Both Alison Goldfrapp and Will Gregory knew David Arnold, the main Bond composer since “Tomorrow Never Dies” in 1997. Will’s impression was that Goldfrapp was just one of several bands whose name was thrown around as possible Bond theme writers. There was never an actual official approach from the producers, despite the tabloid press “confirming” it. So Goldfrapp never even started to write a Bond theme.
We have to move on almost a decade before another lgbt+ artist had an impact on Bond music, and a very divisive and controversial impact it has had. I have to admit that I have never been a fan of this artist who, in my opinion, can’t sing, and who has consistently proven to be a laughing-stock to the majority of the UK lgbt+ community.
Opinion is divided over Sam Smith’s (b.1992) song “Writing’s On The Wall” for 2015’s Bond film “Spectre”. Writing with Jimmy Napes, it is said that the song took just 30 minutes to write, and it shows in its poor quality and blandness. For many aficionados of Bond music, like myself, who have a best and least favourite, the best Bond song varies considerably among us. The least favourite (or worst) is usually “Writing’s On The Wall”, often vying for bottom position with Madonna’s “Die Another Day”.
The fact that Sam’s song won an Oscar for Best Original Song is not the honour it used to be. An analogy can be a barrel of rotting apples – how do you chose the least rotten? I’m not saying that Sam’s song or all recent Oscar winning songs are rotten, just that they’re not as good as they used to be. Relatively few songs are written for films these days, and their quality has suffered.
Which leads us to the blunder that cemented Sam Smith’s place in history as a laughing-stock, which was to claim to be the first lgbt+ person to win an Oscar in front of the audience at the Oscar ceremony itself and millions of media viewers. Almost immediately, many people who knew what they were talking about (i.e. many previous lgbt+ Oscar winners) took to social media to show how ignorant Sam Smith is. Until Sam does anything to earn my respect, I am not obliged to give it.
The latest Bond film was 2021’s “No Time To Die”. The theme song was co-written (with her brother) and performed by Billie Eilish (b.2001). Again, opinion is divided over this song among aficionados. It’s considered to be a good song (winning an Oscar, but see the previous paragraph), but many feel it is too slow paced to reflect the atmosphere of the film.
Billie broke a Bond record when she recorded “No Time To Die”. She was the youngest performer to do so. Billie and her brother Finneas O’Connell (Billie’s real family name) had often made up songs which they thought would make good Bond themes, and little did they know that one day they would actually be doing it.
Their chance came after performing at the annual Electric Picnic arts and music festival at Stradbally Hall, Ireland, in 2020. This is one of Billie’s favourite festivals because it connects her to her Irish heritage. “I’m part Irish, dude… This is my home”, she is quoted as saying.
Barbara Broccoli, one of the Bond producers, saw Billie’s performance and contacted her to discuss the Bond film then in production, “No Time To Die”, and asked Billie and her brother if they’d like to write the title song. There was no hesitation in their reply.
It took three days for them to write the song. They met Hans Zimmer, the overall music director of the film, and together they developed the final version that appears in the film.
Now we’re up to date. What will the future hold for Bond theme songs? Will they continue to be a significant part of the franchise? Which lgbt+ artists and composers will be invited to contribute? Will “Writing’s On The Wall” ever be liked? Only time will tell.
There are quite a few “rejected” Bond songs out there. Most of them are available on YouTube, and if you want to hear some of them (including songs by Jonny Cash and Alice Cooper) see this video.
