![]() The first recording of "Goldfinger" was made by Newley on, with Barry as conductor, which produced two completed takes. Bricusse later recalled that once he and Newley hit upon utilizing "the Midas touch" in the lyric, the pattern of the song became evident and the lyrics were completed within a couple of days at most. Bricusse and Newley were not shown any film footage or script excerpts, but were advised of the fatal gilding suffered by the Jill Masterson character, played by Shirley Eaton. One source of inspiration was the song " Mack the Knife", which director Guy Hamilton showed Barry, thinking it was a "gritty and rough" song that could be a good model for what the film required. ![]() wider than a mile," to the melody of " Moon River," the popular theme song from Breakfast at Tiffany's. But when its composer John Barry played them the first three notes, Bricusse and Newley looked at each other and sang out: ". ![]() Leslie Bricusse and Anthony Newley were asked to create the lyrics for the song. In 2008, the single was inducted into the Grammy Hall of Fame. 53 in AFI's 100 Years.100 Songs survey of top tunes in American cinema. 2 for four weeks on the Adult Contemporary chart, and in the United Kingdom the single reached No. The single release of the song gave Bassey her only Billboard Hot 100 top forty hit, peaking in the Top 10 at No. Composed by John Barry and with lyrics by Leslie Bricusse and Anthony Newley, the song was performed by Shirley Bassey for the film's opening and closing title sequences, as well as the soundtrack album release. " Goldfinger" is the title song from the 1964 James Bond film Goldfinger. That’s not all you can celebrate, as there’s a number of upcoming spy movies and TV shows for 007 fans to enjoy while waiting for the next chapter to begin.One of the side-A labels of the US single This extra element of identity may have helped land the resulting film with more of a definitive image, which could have only helped with securing the Bond films Dalton was supposed to make afterwards.Ģ022 is the 60th anniversary of the James Bond franchise, with the subject of music being one of the key focuses for celebration. No offense to Gladys Knight or Patti LaBelle, but this should have been the signature track for Timothy Dalton’s exit. It’s the Eric Clapton-ness of it all that gives this music its then contemporary edge, and when you listen to the rest of the soundtrack, it fits like a finely tailored tuxedo. This lost theme would have fit Timothy Dalton’s second and final James Bond adventure to a tee, because Licence To Kill was trying to infuse the franchise with that very type of energy. ![]() That all changes once Flick does his thing, playing the signature bass line, which gives way to some very Lethal Weapon-sounding guitar from Clapton. Admittedly, in the shape it currently resides in, it starts out as a bit of jumbled mess. It seems safe to assume that the version of “The James Bond Theme” with Eric Clapton and Vic Flick was an early version and not a final concept. But even with those qualifications and caveats, it feels like we were cheated out of a potential winner that could have really ripped. It may not rank among the higher ranks of 007 theme songs in the canon, but it’s not an abhorrent disaster like Die Another Day’s opening. This is initially a difficult question to answer, especially because Gladys Knight’s “Licence To Kill” isn’t a bad song. (Image credit: Danjaq, LLC and MGM) Which Licence To Kill Song Is Better?
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