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The Music of James Bond
The story of the music that accompanies the cinematic adventures of Ian Fleming's intrepid Agent 007 is one of surprising real-life drama. In The Music of James Bond , author Jon Burlingame throws open studio and courtroom doors alike to reveal the full and extraordinary history of the sounds of James Bond, spicing the story with a wealth of fascinating and previously undisclosed tales.
Burlingame devotes a chapter to each Bond film, providing the backstory for the music (including a reader-friendly analysis of each score) from the last-minute creation of the now-famous "James Bond Theme" in Dr. No to John Barry's trend-setting early scores for such films as Goldfinger and Thunderball . We learn how synthesizers, disco and modern electronica techniques played a role in subsequent scores, and how composer David Arnold reinvented the Bond sound for the 1990s and beyond.
The book brims with behind-the-scenes anecdotes. Burlingame examines the decades-long controversy over authorship of the Bond theme; how Frank Sinatra almost sang the title song for Moonraker ; and how top artists like Shirley Bassey, Tom Jones, Paul McCartney, Carly Simon, Duran Duran, Gladys Knight, Tina Turner, and Madonna turned Bond songs into chart-topping hits. The author shares the untold stories of how Eric Clapton played guitar for Licence to Kill but saw his work shelved, and how Amy Winehouse very nearly co-wrote and sang the theme for Quantum of Solace .
New interviews with many Bond songwriters and composers, coupled with extensive research as well as fascinating and previously undiscovered details--temperamental artists, unexpected hits, and the convergence of great music and unforgettable imagery--make The Music of James Bond a must read for 007 buffs and all popular music fans. This paperback edition is brought up-to-date with a new chapter on Skyfall .
Burlingame devotes a chapter to each Bond film, providing the backstory for the music (including a reader-friendly analysis of each score) from the last-minute creation of the now-famous "James Bond Theme" in Dr. No to John Barry's trend-setting early scores for such films as Goldfinger and Thunderball . We learn how synthesizers, disco and modern electronica techniques played a role in subsequent scores, and how composer David Arnold reinvented the Bond sound for the 1990s and beyond.
The book brims with behind-the-scenes anecdotes. Burlingame examines the decades-long controversy over authorship of the Bond theme; how Frank Sinatra almost sang the title song for Moonraker ; and how top artists like Shirley Bassey, Tom Jones, Paul McCartney, Carly Simon, Duran Duran, Gladys Knight, Tina Turner, and Madonna turned Bond songs into chart-topping hits. The author shares the untold stories of how Eric Clapton played guitar for Licence to Kill but saw his work shelved, and how Amy Winehouse very nearly co-wrote and sang the theme for Quantum of Solace .
New interviews with many Bond songwriters and composers, coupled with extensive research as well as fascinating and previously undiscovered details--temperamental artists, unexpected hits, and the convergence of great music and unforgettable imagery--make The Music of James Bond a must read for 007 buffs and all popular music fans. This paperback edition is brought up-to-date with a new chapter on Skyfall .
- GenresMusicFilmNonfiction
304 pages, Hardcover
First published October 1, 2012
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Displaying 1 - 22 of 22 reviews
December 14, 2023
Over the years I've read plenty of books about the making of the James Bond films, but this is the first one I've read that deals solely with the music.
John Burlingame's book covers the music of every James Bond film from Dr No to Skyfall & it's great to see the spoof of Casino Royale (1967) & Sean Connery's final 007 outing, Never Say Never Again, are also included.
Although I knew quite a lot about the stories behind the music already (I've been a Bond fan for almost 50 years!) there were some wonderful surprises to be found here. For example I knew that Dionne Warick had recorded Mr Kiss Kiss Bang Bang, but I never knew that Shirley Bassey had sung it as well. Sadly the Bassey version is quite poor. Check it out on Youtube & see what you think.
The Music of James Bond is a well researched book & a fitting tribute to all those who contribured to the sound of 007 over the years.
John Barry: A Sixties Theme by Eddi Fiegel is another book well worth reading on the subject of Bond composers.
Just after I finished reading this I booked tickets to see Q the Music performing a night of James Bond music, prsesented by Caroline Bliss (who played Moneypeeny in The Living Daylights & Licence to Kill) in 2024. For more information go to www.qthemusicshow.com.
John Burlingame's book covers the music of every James Bond film from Dr No to Skyfall & it's great to see the spoof of Casino Royale (1967) & Sean Connery's final 007 outing, Never Say Never Again, are also included.
Although I knew quite a lot about the stories behind the music already (I've been a Bond fan for almost 50 years!) there were some wonderful surprises to be found here. For example I knew that Dionne Warick had recorded Mr Kiss Kiss Bang Bang, but I never knew that Shirley Bassey had sung it as well. Sadly the Bassey version is quite poor. Check it out on Youtube & see what you think.
The Music of James Bond is a well researched book & a fitting tribute to all those who contribured to the sound of 007 over the years.
John Barry: A Sixties Theme by Eddi Fiegel is another book well worth reading on the subject of Bond composers.
Just after I finished reading this I booked tickets to see Q the Music performing a night of James Bond music, prsesented by Caroline Bliss (who played Moneypeeny in The Living Daylights & Licence to Kill) in 2024. For more information go to www.qthemusicshow.com.
May 12, 2025
It's been a while since I've held a book with such delight before having even turned a single page. Since purchasing this for a song, no pun intended--on Lazada's 12.12 Big Bad Wolf sale, I had been eagerly anticipating its arrival, even pacing my reading so as to finish a prior book just in time. Because "oh..." it "haunted me so."
This isn't so much a book on the music of James Bond as it is about The Music of John Barry for James Bond. Sure, Dr No's Underneath the Mango Tree was a catchy ditty, but it is the brassy-sexy, bombastic James Bond theme that has singularly defined every Bond film since. Without John Barry, I doubt the James Bond franchise would have been as meteorically successful, nor as iconic. My point being, that the London courts erred in solely recognizing Monty Norman for its creation. The music of no less than 11 Bond films which followed Dr No prove this: all carry the distinct John Barry sound that has defined so much of my moviegoing childhood.
I've been on the Bondwagon since I was seven or eight. Back then Roger Moore, who I first saw in Live and Let Die and The Spy Who Loved Me, was the only James Bond for me. Betamax tapes of older Bond films soon put right to that, as I realized how much safer the world would be in Sean Connery's more capable, manlier hands (and physique!). Since my family was as gung-ho for Bond as I was, I had carte blanche access to every Bond movie starring Connery, Moore, and George Lazenby, be it on Betamax, VHS, VCD, DVD. These days I store digital copies of their films on my external hard drives. I have probably seen the Connery and Moore films at least half a dozen times, but while I've seen every Bond film out there, my avid fascination ends with A View to a Kill.
I didn't need to read this book to realize how much Bond's music has enhanced the viewing pleasure. But reading it has greatly enhanced my appreciation for the people behind the music, as Burlingame deftly takes us behind the scenes, introduces us to the scoring process, the musical collaborators, the artistic hits and misses. I now hold so much respect for composers and lyricists--Lionel Bart, Don Black, Leslie Bricusse, Tim Rice, Anthony Newley, Hal David, Burt Bacharach, Marvin Hamlisch, Carole Bayer Sager. And John Barry, best of all, who not only had the talent and the work ethic for such a demanding job, but the knack for getting along with other artists.
The book of course, comes with a entertaining crop of anecdotal stories. The first time John Barry played the first 3 notes of Goldfinger to Leslie Bricusse and Anthony Newley, both answered "wider than a mile." Barry could be demanding. Shirley Bassey managed to hold the song's last high note after multiple takes and finally, only after removing her bra. Burt Bacharach and Carole Bayer Sager were married to each other. How come I never knew this, let alone know of any songs these two powerhouses in the music industry made together? And what do Frank Sinatra, Johnny Mathis, Blondie, and The Rolling Stones have in common? They were all candidates for a James Bond song. (I don't see why they never approached Freddie Mercury and Queen. Now there's a band who could have effortlessly penned and belted out a Bond song.)
My top 12 Bond songs, in order of preference (I liked Dr No's jaunty Underneath the Mango Tree, but I don't think it qualifies as a Bond song):
1) From Russia with Love - Thank you, Lionel Bart. That unexpected, sweeping swell of an intro, as Bond and Tatiana sail down a Venice canal, clinched it for me. Sublimely immortalized on vocals by Matt Monro, in spite of reputedly consuming 50-60 cigarettes and a bottle of brandy a day! I have never heard another male crooner from that generation sing this melodious, relatively easy song. Because why compete with perfection?
2) We Have All the Time in the World - The most poignant song in the Bond franchise, aptly assigned to the one Bond movie which ends with a profound sense of loss. A slow, languid love song by John Barry, with lyrics by Hal David, which sound so unlike his lighter, upbeat collaborations with Burt Bacharach. Getting Louis Armstrong to sing it was another coup for John Barry.
3) You Only Live Twice - More proof that John Barry can do no wrong. And so easily collaborate with an artist of equal talent to produce yet another winning piece of work. Leslie Bricusse's lyrics had to adhere to the movie title, but he pulls it off beautifully.
4) All Time High - That melody, and those lyrics! Just curls the toes. Rita Coolidge may be no Shirley Bassey, but she had what it took to make this fly high. Thank you, John Barry and Tim Rice.
5) Live and Let Die - Paul McCartney--another guy who can do no wrong. With the trajectory of the Bond franchise, it was just a matter of time before Bond bagged a Beatle. My favorite Beatle, at that. But which line is it, Paul? Is it "in this ever-changing world in which we live in" or "in this ever-changing world in which we're living?" I've always thought it was the former. Either way, it works.
6) Goldfinger - If there's one Bond song that encapsulates the Bond sound, it is Goldfinger. And if there's one Bond singer that embodies the ultimate Bond performer, surely, it can only be Shirley Bassey. Nobody Does it Better than Shirley, who sang 3 songs for the franchise: Goldfinger, Diamonds are Forever, and Moonraker. John Barry, Leslie Bricusse, and Anthony Newley struck gold with this one.
7) A View to a Kill - The year was 1987, and I must have seen this no less than 10 times that year alone. I was hooked on the music by Duran Duran, and on my favorite bond villain: Christopher Walken's charming, suave, oh-so psychotic Zorin and his nuanced, almost endearing affectations.
8) Nobody Does it Better - Not too much of a fan of the lyrics ("I wasn't looking, somehow you found me"), but the arrangement makes this one of the sexier Bond ballads. And Carly Simon was a great fit for the song.
9) Diamonds are Forever - Another powerful track worthy of a Bond film, this time by Don Black and John Barry. Tailor-made for Shirley Bassey.
10) 9) For Your Eyes Only - At 21, Sheena Easton must have been the youngest singer to perform a Bond song. A composition by Bill Conti of Rocky fame.
11) Thunderball - How do you pen a song about a Thunderball? Don Black did, to a score by John Barry. So earnestly sung--like his life depended on it, by Tom Jones.
12) Moonraker - Another collaboration by Hal David and John Barry. And Shirley Bassey's third and last time to sing a Bond song.
This is not a book for everyone, especially if you're not familiar with the Bond oeuvre. But James Bond fetishists, aficionados, and fans will get a kick out of this book. More so if you enjoy music, and have some musical background. I've been a fan of the franchise for as long as I can remember, I love music, and I play the piano. I feel like this book was written just for me.
This isn't so much a book on the music of James Bond as it is about The Music of John Barry for James Bond. Sure, Dr No's Underneath the Mango Tree was a catchy ditty, but it is the brassy-sexy, bombastic James Bond theme that has singularly defined every Bond film since. Without John Barry, I doubt the James Bond franchise would have been as meteorically successful, nor as iconic. My point being, that the London courts erred in solely recognizing Monty Norman for its creation. The music of no less than 11 Bond films which followed Dr No prove this: all carry the distinct John Barry sound that has defined so much of my moviegoing childhood.
I've been on the Bondwagon since I was seven or eight. Back then Roger Moore, who I first saw in Live and Let Die and The Spy Who Loved Me, was the only James Bond for me. Betamax tapes of older Bond films soon put right to that, as I realized how much safer the world would be in Sean Connery's more capable, manlier hands (and physique!). Since my family was as gung-ho for Bond as I was, I had carte blanche access to every Bond movie starring Connery, Moore, and George Lazenby, be it on Betamax, VHS, VCD, DVD. These days I store digital copies of their films on my external hard drives. I have probably seen the Connery and Moore films at least half a dozen times, but while I've seen every Bond film out there, my avid fascination ends with A View to a Kill.
I didn't need to read this book to realize how much Bond's music has enhanced the viewing pleasure. But reading it has greatly enhanced my appreciation for the people behind the music, as Burlingame deftly takes us behind the scenes, introduces us to the scoring process, the musical collaborators, the artistic hits and misses. I now hold so much respect for composers and lyricists--Lionel Bart, Don Black, Leslie Bricusse, Tim Rice, Anthony Newley, Hal David, Burt Bacharach, Marvin Hamlisch, Carole Bayer Sager. And John Barry, best of all, who not only had the talent and the work ethic for such a demanding job, but the knack for getting along with other artists.
The book of course, comes with a entertaining crop of anecdotal stories. The first time John Barry played the first 3 notes of Goldfinger to Leslie Bricusse and Anthony Newley, both answered "wider than a mile." Barry could be demanding. Shirley Bassey managed to hold the song's last high note after multiple takes and finally, only after removing her bra. Burt Bacharach and Carole Bayer Sager were married to each other. How come I never knew this, let alone know of any songs these two powerhouses in the music industry made together? And what do Frank Sinatra, Johnny Mathis, Blondie, and The Rolling Stones have in common? They were all candidates for a James Bond song. (I don't see why they never approached Freddie Mercury and Queen. Now there's a band who could have effortlessly penned and belted out a Bond song.)
My top 12 Bond songs, in order of preference (I liked Dr No's jaunty Underneath the Mango Tree, but I don't think it qualifies as a Bond song):
1) From Russia with Love - Thank you, Lionel Bart. That unexpected, sweeping swell of an intro, as Bond and Tatiana sail down a Venice canal, clinched it for me. Sublimely immortalized on vocals by Matt Monro, in spite of reputedly consuming 50-60 cigarettes and a bottle of brandy a day! I have never heard another male crooner from that generation sing this melodious, relatively easy song. Because why compete with perfection?
2) We Have All the Time in the World - The most poignant song in the Bond franchise, aptly assigned to the one Bond movie which ends with a profound sense of loss. A slow, languid love song by John Barry, with lyrics by Hal David, which sound so unlike his lighter, upbeat collaborations with Burt Bacharach. Getting Louis Armstrong to sing it was another coup for John Barry.
3) You Only Live Twice - More proof that John Barry can do no wrong. And so easily collaborate with an artist of equal talent to produce yet another winning piece of work. Leslie Bricusse's lyrics had to adhere to the movie title, but he pulls it off beautifully.
4) All Time High - That melody, and those lyrics! Just curls the toes. Rita Coolidge may be no Shirley Bassey, but she had what it took to make this fly high. Thank you, John Barry and Tim Rice.
5) Live and Let Die - Paul McCartney--another guy who can do no wrong. With the trajectory of the Bond franchise, it was just a matter of time before Bond bagged a Beatle. My favorite Beatle, at that. But which line is it, Paul? Is it "in this ever-changing world in which we live in" or "in this ever-changing world in which we're living?" I've always thought it was the former. Either way, it works.
6) Goldfinger - If there's one Bond song that encapsulates the Bond sound, it is Goldfinger. And if there's one Bond singer that embodies the ultimate Bond performer, surely, it can only be Shirley Bassey. Nobody Does it Better than Shirley, who sang 3 songs for the franchise: Goldfinger, Diamonds are Forever, and Moonraker. John Barry, Leslie Bricusse, and Anthony Newley struck gold with this one.
7) A View to a Kill - The year was 1987, and I must have seen this no less than 10 times that year alone. I was hooked on the music by Duran Duran, and on my favorite bond villain: Christopher Walken's charming, suave, oh-so psychotic Zorin and his nuanced, almost endearing affectations.
8) Nobody Does it Better - Not too much of a fan of the lyrics ("I wasn't looking, somehow you found me"), but the arrangement makes this one of the sexier Bond ballads. And Carly Simon was a great fit for the song.
9) Diamonds are Forever - Another powerful track worthy of a Bond film, this time by Don Black and John Barry. Tailor-made for Shirley Bassey.
10) 9) For Your Eyes Only - At 21, Sheena Easton must have been the youngest singer to perform a Bond song. A composition by Bill Conti of Rocky fame.
11) Thunderball - How do you pen a song about a Thunderball? Don Black did, to a score by John Barry. So earnestly sung--like his life depended on it, by Tom Jones.
12) Moonraker - Another collaboration by Hal David and John Barry. And Shirley Bassey's third and last time to sing a Bond song.
This is not a book for everyone, especially if you're not familiar with the Bond oeuvre. But James Bond fetishists, aficionados, and fans will get a kick out of this book. More so if you enjoy music, and have some musical background. I've been a fan of the franchise for as long as I can remember, I love music, and I play the piano. I feel like this book was written just for me.
December 19, 2012
A thoroughly researched guide to the music of all of the James Bond movies over the last 50 years. The newest Bond film, Skyfall, is excluded because it hadn't been released at publication.
Each chapter refers to a different movie and includes the full story behind the musical score, the theme song, a linear guide to the songs and musical cues used in the movies, photos, and production notes. Included is the controversial story behind the creation of the famous Bond theme, how songwriters struggled to get the movie titles into each films theme song, and how John Barry is credited with creating the genre of spy music used in these films and others. Of interest are the songs and performances that never made it to film. Each chapter ends with reviews of songs and soundtracks and their respective chart performances and awards in the US and UK. The book concludes with a comprehensive list of Bond soundtracks and songs for the completist, as well as a list of all the sources the author used to create the book.
A book for Bond movie fans and film music buffs alike, there are plenty of interesting stories.
Each chapter refers to a different movie and includes the full story behind the musical score, the theme song, a linear guide to the songs and musical cues used in the movies, photos, and production notes. Included is the controversial story behind the creation of the famous Bond theme, how songwriters struggled to get the movie titles into each films theme song, and how John Barry is credited with creating the genre of spy music used in these films and others. Of interest are the songs and performances that never made it to film. Each chapter ends with reviews of songs and soundtracks and their respective chart performances and awards in the US and UK. The book concludes with a comprehensive list of Bond soundtracks and songs for the completist, as well as a list of all the sources the author used to create the book.
A book for Bond movie fans and film music buffs alike, there are plenty of interesting stories.
October 20, 2016
This book is a must not just for Bond fans but any aficionado of movie music. Burlingame goes into great detail into the composition of all the James Bond scores and theme songs, from Dr. No through Quantum of Solace and he doesn't restrict himself to the Eon films, including Never Say Never Again and the 1966 Casino Royale as well. All sorts of fascinating facts are unearthed; we learn, for instance, how a novel by V.S. Naipaul led to Monty Norman's classic Bond theme and how Britain's punitive tax laws led to John Barry's departure from the series. It's fascinating to learn about the music we didn't get as well, from artists that were unfortunately passed over (Frank Sinatra, Johnny Cash, Paul Williams, Alice Cooper and Blondie) to those we should be thankful were not used (Ace of Base and The Pet Shop Boys). As a bonus, each chapter on a particular film contains a sidebar outlining the music cues in each film. My only criticism is that the author does not bring enough of his personal opinions of the music itself into the individual chapters, preferring to provide occasional, less-than-effusive praise but withholding any major negative critiques of his own (he does refer to the impromptu use of a Beach Boys cover in A View to A Kill as "disastrous,"a classic understatement), although he does feature quotations from various reviews to indicate how the scores and songs were received at the time of release. Nonetheless, it is highly recommended.
October 18, 2012
With the new Bond movie Skyfall coming out, there's a tsunami of 007-related books headed our way and I've been buying a bunch of them. The best so far is Jon Burlingame's The Music of James Bond. It's terrific, but I wouldn't expect anything less from the author of TV's Biggest Hits and an acknowledged expert in soundtrack music.
This book charts the evolution of every Bond score in a lively, breezily-written narrative that is as entertaining as it is informative. Everything you ever wanted to know about the scores, themes, and business behind the Bond music is here. Even if you aren't a Bond fan, this book is a revealing look at the business, marketing, and creative influences on how movie scores assigned and produced. It's a must-have reference and historical book for all Bond fans and soundtrack collectors that will have you listening to all the Bond albums again and searching YouTube and iTunes to listen to the many rejected theme songs. I thoroughly enjoyed the book, learned a lot, and hope that Jon will be updating it every few years...though I am still waiting for the sequel/update to TV's Biggest Hits!
This book charts the evolution of every Bond score in a lively, breezily-written narrative that is as entertaining as it is informative. Everything you ever wanted to know about the scores, themes, and business behind the Bond music is here. Even if you aren't a Bond fan, this book is a revealing look at the business, marketing, and creative influences on how movie scores assigned and produced. It's a must-have reference and historical book for all Bond fans and soundtrack collectors that will have you listening to all the Bond albums again and searching YouTube and iTunes to listen to the many rejected theme songs. I thoroughly enjoyed the book, learned a lot, and hope that Jon will be updating it every few years...though I am still waiting for the sequel/update to TV's Biggest Hits!
October 30, 2021
Well researched examination of Bond film music, including the famous songs. Covers Dr. No to Quantum of Solace, and also includes Never Say Never Again and 1967's Casino Royale. A good read.
An updated version with the last 3 films would be nice, but this book comes to a nice closure with the death of the legendary John Barry. His work on Bond films (and so many others) defines the era. Each film has pages of discussion into choosing or composing the title song, options for the singer and a few photos. My favorites were when the artist had a special song poster for their work. At the bottom of the page runs a separate section detailing all the music in the film, including the occasional in-jokes and sporadic bad choices (California Girls).
I read this over a month, taking time for each film. In many cases, I cued up the opening sequence to appreciate the title song anew. Somewhat difficult to find, but definitely worth reading.
An updated version with the last 3 films would be nice, but this book comes to a nice closure with the death of the legendary John Barry. His work on Bond films (and so many others) defines the era. Each film has pages of discussion into choosing or composing the title song, options for the singer and a few photos. My favorites were when the artist had a special song poster for their work. At the bottom of the page runs a separate section detailing all the music in the film, including the occasional in-jokes and sporadic bad choices (California Girls).
I read this over a month, taking time for each film. In many cases, I cued up the opening sequence to appreciate the title song anew. Somewhat difficult to find, but definitely worth reading.
October 22, 2012
As a Bond fan with an interest in Film Composition this didn't tell me much I didn't know, but its lovely to have it all in one volume. And just lovely to have a book which so reverentially goes into the detail of scoring a film.
I had a lot of respect for John Barry already, even more so now. And its a shame Michael Kamen only scored Licence to Kill. He was to prove himself subsequently a great pop song writer, so he could have had a good go at some of the title songs too.
Vic Flick, John Barry and Derek Watkins are absolute heroes.
I'll look forward to the updated edition after Skyfall, to see how Burlingam thinks Thomas Newman fares in the realm of Bond composers (I think the change is a good thing).
And I think I might just be able to aspire to score the next Bond film. Just need to get a successful hit and a feature film under my belt. That gives me just under two years.
I had a lot of respect for John Barry already, even more so now. And its a shame Michael Kamen only scored Licence to Kill. He was to prove himself subsequently a great pop song writer, so he could have had a good go at some of the title songs too.
Vic Flick, John Barry and Derek Watkins are absolute heroes.
I'll look forward to the updated edition after Skyfall, to see how Burlingam thinks Thomas Newman fares in the realm of Bond composers (I think the change is a good thing).
And I think I might just be able to aspire to score the next Bond film. Just need to get a successful hit and a feature film under my belt. That gives me just under two years.
December 4, 2012
When I learned of this book I was not only excited but stunned that no one had written it before (to my knowledge anyway). Burlingame covers all the drama with the artists who sang the title songs like Duran Duran, Madonna and Shirley Bassey as well as people who DIDN'T get the gig like Frank Sinatra and Amy Winehouse. Burlingame also gives each composer his due and how each score was recorded. Hardcore Bond fans will be fascinated by the chapter on Goldeneye and vindicated on how that mess was dealt with. I'd say if you're a music fan, this book could appeal even if you don't care about Bond. But the big draw here is for Bond fans and it's another amazing thing the 50th anniversary has brought out. Obviously, there's no chapter on Skyfall as this book was written before. No Bond record is ever complete which is encouraging to fans like me. Absolutely fantastic.
February 13, 2018
Everything you ever wanted to know about Bond music. A scholarly work that any Bond fan will appreciate. It is thoroughly researched. It includes both the original Casino Royale and Never Say Never Again making this a complete record of the music from every Bond film up through Quantum of Solace.
January 14, 2015
If you are interested in film music, this is a must-read. All Bond movies, also the unofficial ones, are dealt with very extensively, up till Quantum of Solace. With a structure of one movie per chapter it also invites to keep the book close at hand when viewing a Bond movie. Especially the inserts that give the score highlights, by minutes into the film, are very helpful while watching. The book has a wealth of pictures, as well. It is amazing how much information Jon Burlingame was able to unearth, a real treasure-trove. The book merits a re-reading, as remembering all the fact in one reading is nigh on impossible.
About the audio version. This was my first encounter with Tom Parks and I didn’t like it very much. I am sure that his enthusiastic rendition can be a bonus for certain books, but it distracted me from the story
About the audio version. This was my first encounter with Tom Parks and I didn’t like it very much. I am sure that his enthusiastic rendition can be a bonus for certain books, but it distracted me from the story
August 22, 2022
I loved this book and I could not stop reading it!!! Each chapter is about the music in each Bond film. The book details how the composer and singer and music were all chosen. Most interesting is what could have been! I never knew that Frank Sinatra agreed to sing Moonraker and that Paul Williams write the song for him. Great stories in this great book! I was sad when it ended with Skyfall. Great book for all Bond fans!
October 10, 2012
Insightful, unbelievably well researched and also very enjoyable. The story behind the music of the Bond movies is filled with intrigue, twist and turns that could equal any James Bond plot.
It only enriched my understanding of the music itself that I love so much. A truly worthwhile book.
September 14, 2014
Excellent book that covers the ins-and-outs of the Bond composers, scores, directors, and producers from Dr. No through Quantum of Solace. Highly recommended for anyone with even a passing interest in the musical score legacy of the James Bond films!
July 11, 2013
Pretty interesting behind-the-scenes look at the Bond films music. Politics and producer prejudices play a role as they do on all films. Shows how unappreciated music was and how it came to be recognized.
November 19, 2013
nice recounts about the composers, the theme songs, sidebars describing the scenes and related music. Nothing earth shaking, but interesting and well done.
July 10, 2025
Mainly appealing for Bond nerds, but definitely worth it for Bond nerds.
July 16, 2018
Film by film (and including the 1967 'Casino Royale', plus 'Never Say Never Again), Burlingame's well-researched reference work gives detailed information on the songs and scores that have helped shape the 007 character. There's a lot of information here beyond the production background stories, including notes and highlights for each soundtrack release, and a handy list of Bond songs that almost were. Enjoyment here is probably elevated if you're a soundtrack nerd, but I found this an interesting and accessible companion for anyone who's ever had a bit of a John Barry composition stuck in their head.
July 1, 2023
Loved it. Looking forward to reading Burlingame's book "Music for Prime Time" about television music.
November 10, 2012
The Music of James Bond by Jon Burlingame is a non-fiction book about the soundtrack of one of the most successful film franchises in the world. Coincidentally, after finishing the chapter about the music of From Russian with Love, I flipped on the TV and the movie was on, I can give a first hand testimony that this book gave me a whole different view of the Bond movies (and I have seen each several times).
The book covers the topic of the James Bond movies from the perspective of the musical score. Each movie gets a chapter with a narrative of how the score came to be as well as an outline of the movie (spoiler alert if you haven’t seen them) and where each part of the score plays a role.
The Music of James Bond by Jon Burlingame tells of the real-life dramas which accompanied the sound track to the 007 movies up to Quantum of Solace. Mr. Burlingame takes the reader behind the scenes to closed sessions, private negotiations and confidential conversations.
The author does an excellent job discussing each movie and how the soundtrack got created as well as changed with the times. As a fan of the movies (I’ve seen each several times), I knew exactly what he was talking about and could hear the music in my head.
My favorite part of the book came at the beginning by learning how the famous “James Bond Theme” came to be and, of course, learn more about the famous John Barry who scored many of the Bond movies whose distinct sound is recognizable almost everywhere.
Special attention was given to the changing technology in music, where big bands were replaced, or complemented, by synthesizers and the sound of the early movies was slowly replaced by disco and modern sounds.
My only wish is that this book would have been an enhanced e-book, this is the exact type of book which would benefit from such format. Imagine being able to watch a particular scene, or listen to a particular track after having read about it and with an understanding of what your are watching and listening to.
As always, the real magic of the book is the behind-the-scenes anecdotes and controversies regarding the soundtracks, ownership and reinvention of the Bond sound by David Arnold. Complemented with interviews of composers and artists, untold stories (Eric Clapton’s guitar work for “License to Kill” was shelved, Jimmy Page played on the “Goldfinger” track and more) this book is a must for Bond fans and music lovers.
For more reviews and bookish posts please visit: http://www.ManOfLaBook.com
The book covers the topic of the James Bond movies from the perspective of the musical score. Each movie gets a chapter with a narrative of how the score came to be as well as an outline of the movie (spoiler alert if you haven’t seen them) and where each part of the score plays a role.
The Music of James Bond by Jon Burlingame tells of the real-life dramas which accompanied the sound track to the 007 movies up to Quantum of Solace. Mr. Burlingame takes the reader behind the scenes to closed sessions, private negotiations and confidential conversations.
The author does an excellent job discussing each movie and how the soundtrack got created as well as changed with the times. As a fan of the movies (I’ve seen each several times), I knew exactly what he was talking about and could hear the music in my head.
My favorite part of the book came at the beginning by learning how the famous “James Bond Theme” came to be and, of course, learn more about the famous John Barry who scored many of the Bond movies whose distinct sound is recognizable almost everywhere.
Special attention was given to the changing technology in music, where big bands were replaced, or complemented, by synthesizers and the sound of the early movies was slowly replaced by disco and modern sounds.
My only wish is that this book would have been an enhanced e-book, this is the exact type of book which would benefit from such format. Imagine being able to watch a particular scene, or listen to a particular track after having read about it and with an understanding of what your are watching and listening to.
As always, the real magic of the book is the behind-the-scenes anecdotes and controversies regarding the soundtracks, ownership and reinvention of the Bond sound by David Arnold. Complemented with interviews of composers and artists, untold stories (Eric Clapton’s guitar work for “License to Kill” was shelved, Jimmy Page played on the “Goldfinger” track and more) this book is a must for Bond fans and music lovers.
For more reviews and bookish posts please visit: http://www.ManOfLaBook.com
October 3, 2012
Review to come soon.
This entire review has been hidden because of spoilers.
Read
January 27, 2014Read halfway. Not compelled to complete. Very sterile. Needs more storytelling.
April 29, 2013
Fairly informative, occasionally fascinating.
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