Definitive and iconic as it may be, James Bond has always held its own when it comes to the soundtrack. Not just its original works, the iconic theme by John Barry is in a league of its own, but the consistent offerings from other artists. Major names have staked their claim in the Bond track arena, from Paul McCartney to Adele, and while that may not be the most eclectic mix when tuning into radio stations across the globe, it is a strange, unique category for the Bond tunes. Each artist rips off a sheath of themselves and tries to morph their work so far into something that can fit the theme or concept of a particular era of the franchise. The Sound of 007 does a solid job of exploring just that.
Including what it means to the artist to write a Bond song is just as, if not more, important, than the features they appeared in. Hearing what it means to the likes of Billie Eilish to Hans Zimmer is infectiously touching and sincere. The Sound of 007 depends on the keen editing tactics held throughout, its broad range of archival performance footage, and clips from the features that some of the best musicians collaborated on. Noting the legacy of Shirley Bassey in the early moments, the adaptive structure of the Bond theme song and how instruments can change the fabric and meaning of that iconic theme. There are a few moments that give leeway to experimentation, and that is a fair and interesting avenue to follow.
Director Mat Whitecross excels in bringing it back to the central focus, though. The music itself is an important and often underappreciated part of the feature film. James Bond has an iconic lead theme, granted, and it is something the documentary and many film fans are keen to point out. But the discussion of the title tracks, Live and Let Die thrills to the explosive return under Chris Cornell’s You Know My Name. These are inspired and interesting choices, with the history of cultural advancements and anecdotes, understood with real clarity. Names and moments that defined the Bond series whose legacy has gone unchecked for some time. Marvin Hamlisch finally highlighted in all his glory. There is little on those who tried and failed to pitch Bond songs. Understandable, but a shame given that rich avenue of history, which features the likes of Pulp, Johnny Cash, and Pet Shop Boys.
The Sound of 007 celebrates one of the most overlooked aspects of the franchise in style. An articulate and well-documented discussion and dive into the music that made the movies. Audiences wait for that musical note, it is, as Sam Mendes points out, a piece of music that “has been in our lives as long as we can remember.” James Bond predates billions. Its legacy can be split into a fair portion of categories, from leading man to villainous supporters but the one aspect that is often overlooked is the sound created for the film and the impact it has on what could, at any turn, be a very generic action feature. The Sound of 007 does well to explore this and does so with real joy. David Arnold and a selection of excellent interviews are on hand to explain not just how the music is incorporated, but why it is the very fabric of the features that have found themselves in a strong form of art.
