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Bond Songs Ranking

Bond Songs Ranking Die Titelsongs von miserabel bis Weltklasse

Ranking: Alle James-Bond-Songs inklusive Billie Eilishs „No Time To Die“. Ranking: ALLE Bond-Songs – von grauenhaft bis hammergut. Wir sagen euch, welches die besten – und die schlechtesten. Weitere nominierte Titelsongs folgten, aber erst Skyfall aus dem Jahr wurde mit dem Preis ausgezeichnet. Gesondert aufgeführt sind die Titellieder der Filme​. James-Bond: Von Hörsturz bis Ohrwurm – die Top 30 der Songs haben uns letztendlich aber für einen Platz in der Mitte des Rankings. Von Billie Eilish bis Shirley Bassey: Diese Mission hätte selbst James Bond verzweifeln lassen, doch wir haben die 24 Songs treffsicher platziert.

Bond Songs Ranking

Mein Ranking der Bond-Songs - Hier meine Rangliste der Titellieder zu den James-Bond-Filmen, vom besten bis zum schlechtesten. Es werden sicher so. Ranking: Alle James-Bond-Songs inklusive Billie Eilishs „No Time To Die“. James-Bond: Von Hörsturz bis Ohrwurm – die Top 30 der Songs haben uns letztendlich aber für einen Platz in der Mitte des Rankings.

Compared to Shirley's previous efforts 'Goldfinger' and 'Diamonds Are Forever' , this was a sadly forgettable theme.

Sorry, Shirls. Brilliant chorus, though. Another example of when the theme tune was one of the best parts of the movie in question, and this time it was Lulu's turn.

However, composer Barry wasn't a fan, later saying: "It's the one I hate most Disclaimer: We have a strange soft spot for this bonkers Bond theme from the Queen of Pop, but While it was amazing to secure one of the biggest popstars of all time, the choice to go down the electropop route with lines such as "Sigmund Freud: analyse this", was just an odd way to go for Bond.

Now, this is a beautiful ballad by Sam Smith, but it just doesn't quite sound like a Bond theme. It's got all the moody strings and all, but it doesn't really go anywhere.

Sam's voice is hauntingly brilliant as ever, though. It was however the first Bond theme to finally go to number one in the UK.

An old school take on a Bond theme, it describes the plot of the movie without delving into the innuendo nature of later tunes. Like 'Nobody Does It Better' before it, this '80s ballad is able to exist as a genuinely great love song in its own right.

Dusty Springfield and Donna Summer were also considered before newcomer Easton was selected, and she remains the only singer to actually appear in the movie's famous intro.

Lyricist Don Black teamed up with composer David Arnold for this Brosnan-starring title track, taking Bond into the late '90s alt-rock era.

Like Sheryl Crow before, it may have been forgotten in comparison to others, but it's one of the hidden gems of the Bond theme oeuvre.

In a rather forgettable Bond outing, this was one of the few shining lights for Craig's second film. It's a bit of a Marmite song, with a pairing that we would never have thought of at the time, but the pounding piano and guitars are so awesome that it works.

KD Lang also recorded a song of the same name written by the movie's composer David Arnold, but this track by Sheryl Crow was chosen instead, with KD's slipped into the end credits.

What do you do after the success of Shirley Bassey's 'Goldfinger'? Get another Welsh powerhouse! While Tom Jones's effort isn't as well remembered as others, we'd argue this is an underrated song that's so much fun and couldn't be more '60s Bond if it tried.

After critics weren't too kind with Lazenby's Bond at the time, the next instalment went back to the drawing board and brought back not only Sean Connery, but Shirley Bassey too.

The theme tune was the best thing about the movie, with the lyrics written by the legendary Don Black. After the success of Duran Duran, the first Timothy Dalton movie secured the services of another huge '80s band for the theme tune.

While not quite as great as its predecessor, it was a brilliant way to usher in the new moody era of It was an offbeat choice of artist compared to what came before, but it's underrated rocker that definitely deserves more love.

This was the first time Bond went a bit melancholic with its theme tune, and it worked brilliantly. Its famous opening strings were famously later sampled by Robbie Williams on his hit 'Millennium'.

The sex? All I can think of when I listen to "All Time High" is those erectile dysfunction commercials where two Boomers hold hands in separate outdoor bathtubs while admiring a Sonoma sunset.

It just does nothing to prep me for a secret agent movie that's about to go down. Any Bond theme that prominently features smooth saxophone over a saucy trumpet is making a choice —and it's the wrong one.

It tugs at the heartstrings, is dynamically interesting, and is elegantly produced. It's just not a Bond song!

It's too happy, too sweet, too major-key. James Bond doesn't drive across country smiling to AM radio—he's over the legal limit and being pursued by some ridiculous foe.

If a Bond theme song could function as a first dance song at a wedding, it's not really a Bond theme song. The good parts about this song?

It's gauzy, a clear throwback to classic Bond ballads. Sam Smith is adequately brooding to deliver it. It's got a not-bad chorus.

The bad part? It's boring! At best, it's an ersatz "Skyfall. Shirley Bassey is the Queen of Bond theme songs, with several entries on this list.

This is the worst of those entries. Not awful, but easily the least memorable of her contributions to the Bond pantheon.

There's more rock 'n' roll swagger in this duet than the Bond franchise is accustomed. And that's okay! It's a clear example of two artists honoring the Bond motif and applying their own stylistic spin.

But it lacks the gravitas and drama of the best theme songs. It's way better as an end credits song than an opening credits song.

The sensuality of Sheryl Crow's Bond theme vaults it to the middle-of-the-pack. But Crow is an odd choice as more of a pop singer-songwriter rather than a belter or crooner and it's hard to get past that.

Casino Royale is an excellent Bond film, and the first one featuring Daniel Craig. Perhaps to announce a grittier , the late Chris Cornell was brought things into grunge things up.

It's a polarizing song: extremely true to Cornell's instincts as an artist coupled with Bondian horn blasts, but maybe too Buzz Cuts for diehard Bond-lovers.

I love the ambition of asking Cornell, one of the best rock voices of his generation, to perform a Bond song, even if it didn't result in a home run.

The synthy horns definitely date "License to Kill," which sits on the slow-jammy side of the Bond theme song spectrum.

As much as we think of JB as an elite assassin and secret agent, he's also a bonafide loverman! Shirley Manson singing in a Bond movie? I'll take it.

An entirely serviceable, if not world-conquering entry by the '90s rockers. Billie Eilish scares me and I think she's supposed to. And while she's enigmatic and talented and probably going to get even bigger than she is right now, the most interesting parts of her debut album were the meshing of her voice and strange, engrossing production.

Asking her to sing a more conventional ballad over an orchestra is a treat in terms of stretching her artistic skill set. However, it sounds more like Billie is constraining herself to Bond World than Bond World is adjusting itself to Billie, which would've probably resulted in a more memorable song.

If you weren't paying attention, you might think Frank Sinatra is crooning this classic. This lush ballad suits Sean Connery's Bond exceptionally well, and effectively transports the listener back to the original era.

Monro's voice is front-and-center, allowing it to really soar over the orchestra serving as a sonic foundation. This song gets high placement for the simple fact that if you were to tell me, "Hey, Louis Armstrong did a Bond song," my assumption is that it would be very, very bad.

Don't get me wrong—Armstrong is a legend. But dark melodrama isn't his lane. That he doesn't lean into Bond musical tropes and still manages to turnaround a song that works within the franchise while simultaneously being enjoyable in and of itself is an achievement, and a tribute to Armstrong's enduring brilliance.

That voice! One of the most decadent Bond songs—and it's not even Bassey's best Bond song. Bow down. The build-up to the chorus makes me want to pump my fist in the air and crush some air drums.

Yes, it's not as shadowy as the rest of the Bond catalog, but who cares? Radiohead is such a slam-dunk choice for a Bond theme song that History will not look kindly on that choice, but Radiohead's exclusion makes their dejected theme that much more powerful.

Do your best not to get lost in the dour piano, the enveloping strings, and Thom Yorke's pristine falsetto. Perhaps it was too interesting to be a Bond song!

That opening string motif is just so of-the-times. Coupled with strummed acoustic guitar and an electric guitar playing that same opening string melody, Nancy Sinatra's Bond song takes you right back to the Swinging '60s.

This captures less , the action star and more , the man of mystery. Plucked harp? Sign me up. Like most of Wings' best stuff, it's essentially 3 songs in one, which helps to cover the spectrum of Bond theme moods: sentimental, frenetic, and charming.

It may be the best song on this list, but it's not the best Bond theme song because it has an entire life outside of the film.

It's a top-notch McCartney song that just so happened to be in a Bond film, not the other way around. When Bond songs are explicitly about the character of James Bond, they can tend to fall flat lyrically.

Like, we get it, we're about to see a movie about James Bond, we're all onboard. But when a Bond theme is more about the capital-V Vibe that Bond evokes, it has a way higher success rate.

Adele is our generation's most gifted torch singer, and she makes almost too much sense as a Bond chanteuse. Despite her being a super on-the-nose selection, she pulls it off and delivers not only an all-time great Bond theme, but one of the best Adele songs in a catalog crowded with great songs.

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Top 10 James Bond Theme Songs

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Now, this is a beautiful ballad by Sam Smith, but it just doesn't quite sound like a Bond theme.

It's got all the moody strings and all, but it doesn't really go anywhere. Sam's voice is hauntingly brilliant as ever, though. It was however the first Bond theme to finally go to number one in the UK.

An old school take on a Bond theme, it describes the plot of the movie without delving into the innuendo nature of later tunes.

Like 'Nobody Does It Better' before it, this '80s ballad is able to exist as a genuinely great love song in its own right.

Dusty Springfield and Donna Summer were also considered before newcomer Easton was selected, and she remains the only singer to actually appear in the movie's famous intro.

Lyricist Don Black teamed up with composer David Arnold for this Brosnan-starring title track, taking Bond into the late '90s alt-rock era. Like Sheryl Crow before, it may have been forgotten in comparison to others, but it's one of the hidden gems of the Bond theme oeuvre.

In a rather forgettable Bond outing, this was one of the few shining lights for Craig's second film. It's a bit of a Marmite song, with a pairing that we would never have thought of at the time, but the pounding piano and guitars are so awesome that it works.

KD Lang also recorded a song of the same name written by the movie's composer David Arnold, but this track by Sheryl Crow was chosen instead, with KD's slipped into the end credits.

What do you do after the success of Shirley Bassey's 'Goldfinger'? Get another Welsh powerhouse! While Tom Jones's effort isn't as well remembered as others, we'd argue this is an underrated song that's so much fun and couldn't be more '60s Bond if it tried.

After critics weren't too kind with Lazenby's Bond at the time, the next instalment went back to the drawing board and brought back not only Sean Connery, but Shirley Bassey too.

The theme tune was the best thing about the movie, with the lyrics written by the legendary Don Black.

After the success of Duran Duran, the first Timothy Dalton movie secured the services of another huge '80s band for the theme tune. While not quite as great as its predecessor, it was a brilliant way to usher in the new moody era of It was an offbeat choice of artist compared to what came before, but it's underrated rocker that definitely deserves more love.

This was the first time Bond went a bit melancholic with its theme tune, and it worked brilliantly. Its famous opening strings were famously later sampled by Robbie Williams on his hit 'Millennium'.

OK, this was technically not the main theme tune for George Lazenby's single outing as Bond, but it's far more memorable than its instrumental title track.

An ageing Louis was the surprise but perfect choice for this ballad, and was chosen by John Barry because he felt he could "deliver the title line with irony".

The title line is taken from Bond's final and emotional quote in the movie. One of the few Bond themes which you can actually listen to as a downright amazing pop tune before you think about at all.

The power ballad broke away from the George Martin or John Barry mould of writing Bond themes, and it was a breath of fresh air. Extra points for always making us think of Alan Partridge with those 'clang-a-lang''s.

For Pierce Brosnan's first Bond movie, they went for the tried and tested formula of landing a lendary soul icon to belt it out, and man it was amazing.

Don't you sort of wish David Bowie had recorded a James Bond theme? I get the feeling that the Bond producers had the same dream, but they couldn't book him for the gig and instead got Here's another song in the catalog that takes all of the Bond cliches: big orchestra with swooning strings, a catchy tempo, and a big and bold vocal performance from Shirley Bassey.

This particular combo, however, is mostly unremarkable. From the most recent film in the series, the generally mediocre Spectre , Sam Smith's Oscar-winning tune is, well, just fine.

It really just sounds like a sad Sam Smith ballad. From Russia With Love is the second James Bond movie, and the first with an original song composed for the credits—although the opening credits went with a short acoustic rendition, with Matt Monro's vocal track playing over the end credits.

It's a nice song, but not a standout. Is it good? Yeah, I suppose. Years later, it feels like the song is overpowered by Adele herself, who at the time was coasting on the success of her record-breaking album Look, I get that it's fun and dancey and very Duran Duran, but I still have to say it's a missed opportunity not having A View to a Kill co-star Grace Jones singing this one.

Sheryl Crow is certainly an odd choice for a Bond song, especially since it doesn't really capture her general vibe as a solo artist the dripping strings do, however, bring to mind Bobbie Genty's "Ode to Billie Joe," a song Crow later covered.

But she nails the sultry vocals with a particularly '90s ennui. You get the sense that Crow doesn't really care either way what happens tomorrow.

Sure, it has all of the trappings of a treacly '80s love song the production is bloated with keyboards and backing vocals , but Knight still makes it sexy—and the video proves she can pull of a tux pretty well.

Jack White and Alicia Keyes's duet is the only two-hander in the film franchise, and the Quantum of Solace theme is one of the good true rock songs in the Bond catalog.

It's a great mix of White's goth-adjacent rock and Keyes's soulful voice. It works a lot better in practice than one would expect, but it's not exactly the most memorable Bond tune.

Garbage frontwoman Shirley Manson has the perfect voice for a Bond song, and "The World Is Not Enough" is one of the better-case scenarios when it comes to blending the typical Bond vibe with a rock band.

It's unfortunate, however, that—much like the film it represents—it's not exactly a standout in the franchise. Tina Turner is a perfect choice for a bond theme song, and this one that accompanied Pierce Brosnan's debut as is slinky and sexy and reminiscent of Shirley Bassey's three songs.

While Turner's vocals aren't as powerful as Bassey's, her instrument blends well with the big orchestrations.

And that it's both reminiscent of a classic Bond tune while also standing out as a '90s sex jam makes it the perfect combination.

There's a reason this one feels like an outlier among the other Bond tunes: While it was written by Bond composer John Barry, it wasn't used in the opening credits of On Her Majesty's Secret Service —which is often the most overlooked Bond film since it's the only one that starred actor George Lazenby.

This song feels more like a standard than any of the rest thanks to Louis Armstrong's iconic vocals. This might be a controversial placement, but I stand by it.

The theme from Octopussy —which, for understandable reasons, does not share a title with the film—is classic AM Gold and a bona fide smooth pop hit.

It might be the most anti-James Bond theme song in the entire franchise, which serves this track well. Diamonds Are Forever might be best known for being Sean Connery's final film in the Eon-produced films he'd return in 's Never Say Never Again , a sort-of remake of Thunderball , it also served as Shirley Bassey's second outing as a Bond theme song singer.

While it's better than "Moonraker" and less iconic than "Goldfinger," this one is an earworm that will likely not leave your head any time soon.

Another Bond song in the bunch that earned an Oscar nomination, Sheena Easton's contribution to the franchise remains one of the biggest hits of the Bond themes.

She's also the only singer to appear in the opening credits of a Bond film—and it's one of the few that did not incorporate John Barry's Bond instrumentals.

Those moody strings that open this tune are a perfect fit for Nancy Sinatra's brooding voice. It's a striking psychedelic number, so perfectly late '60s and darkly romantic.

While Sinatra wasn't the first choice Bond producers originally wanted Aretha Franklin, but then capitalized on the up-and-coming Sinatra who had a recent hit with "These Boots Are Made for Walkin'" , the theme song ultimately became one of her best-known hits.

Billie Eilish recorded the theme for the 25th Bond film, No Time to Die , at just 18 years old, making her the youngest artist ever to perform an original theme tune.

Goldfinger , the third film in the Bond series, was the first to include an original song over its opening credits, thus setting the standard for the franchise.

And Shirley Bassey's booming vocals, paired with the brassy orchestrations, pull of the impossible: She can make these ridiculous lyrics, and the ludicrous title, actually work.

Bond Songs Ranking - Das definitive Ranking aller James Bond Titelsongs

Das wäre dienlicher als eine blosse Missfallenskundgebung. Sofort wieder vergessen. Platz 8: "You only live Twice" - Nancy Sinatra Ol' Blue Eyes dürfte stolz auf seine Tochter gewesen sein: Nancy Sinatra veredelte dieses Bond-Abenteuer mit dem ihr eigenen, raffinierten Understatement - kühl, geschmeidig, doppelbödig. Dieses Autotune-Massaker eines Song-Versuchs etwa. Wir verwenden Cookies und Analysetools, um die Nutzerfreundlichkeit der Internetseite zu verbessern und passende Werbung von watson und unseren Werbepartnern anzuzeigen. HugiHans James Bond, dem letzten mit dem notorisch frauenverachtenden Snob Roger Moore in der Hauptrolle, klang nach Action pur. Skyfall von Adele 3. Jammern auf hohem Niveau, darf Refuses Д‚ВјBersetzung auch sagen, denn: WOW. Zu offensichtlich wollte man hier die Erfolgsformel vom Vorgänger kopieren. Weitere Stories und Infos. Nun möchten wir aber gerne eure Meinung hören. Kommt dazu, dass er der Titeltrack des wohl ikonischsten Bond-Films aller Zeiten ist. Mir gefällt va die Orchestrierung von Hans Zimmer. YouTube immer entsperren. Diese Künstlerin wird gehypt. Kein Problem für Tom Jones! Abo Spezial-AboSammler-Ausgaben. Das Ergebnis kann sich bis heute hören lassen: Ein fulminanter Rocksong, opulent Tony Bulluck, mächtig schiebend, den actionreichen Spirit der Filme wunderbar einfangend. Unter Lopoca Nugget Geniestreiche fallen sicherlich Baronis Top 4. Shirley Bassey. Und: So gut gelaunt wie hier stieg man noch selten in Rocket League Welches Auto Agenten-Gemetzel ein. Best of von Arventus. Für mich, die absolute Nummer Eins! Aber Billie wird halt im Moment so durchs Dorf getrieben. Gefällt mir. Tatsächlich hat wohl keiner die tragische Szene je vergessen können, Beste Spielothek in Till finden wenig wie den dazugehörigen Song. Eine Titelsequenz, die wiedermal die klassischen Girls und Guns und G Madonna: "Die Another Day" - Beste Spielothek in Sandfurth finden vielen ungeliebt, gefällt mir aber wegen seines dynamischen Beats und den gut eingesetzten Streicher-Samples. Die 80 und er Songs werden schlechtgeredet! Aber über Geschmäcker lässt sich bekanntlich streiten. Sorry, Dame Shirley Bassey. As such, Lulu is forced to ham her way through material which, although spirited, is only really an impression of great Bond songs of the previous decade. An entirely Beste Spielothek in Neuanbau finden, if not world-conquering entry by the '90s rockers. So when former Soundgarden frontman Chris Cornell was chosen to lend his gravelly but precise vibrato to the theme song for Casino Royale co-written with David Arnold it was a chance to inject Bond with a bit of grunt. It just does nothing to prep me for a secret agent movie that's about to go down. Shirley Bassey — "Goldfinger". Brilliant chorus, though. Billie Eilish scares me and I think she's Ca$ In Euro to. But the whole tune comes off as unnecessarily hokey, especially with lyrics that are lacking any and all nuance.

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Akim says:

Es ist schade, dass ich mich jetzt nicht aussprechen kann - ist erzwungen, wegzugehen. Ich werde befreit werden - unbedingt werde ich die Meinung in dieser Frage aussprechen.

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