The 4 Best James Bond Theme Songs Ranked

Since 1962, the James Bond theme song has become as much a topic of discussion and argument as which actor best portrays the British agent.

There’s even a 007 chord: Em/Maj 7. From the (literal) gold standard of Shirley Bassey to who might sing Paul McCartney’s version, the Bond themes ignite debates among the diehards over the best and worst versions. Also, contemporary Bond themes by Adele, Sam Smith, and Billie Eilish have won three consecutive Academy Awards, proving the endurance of the spy franchise and its Monty Norman-composed theme. Maybe a future version will render this “best of” list obsolete.

Until then, below are the four best James Bond themes ranked.

What does it matter to ya?
When you got a job to do you got to do it well
You got to give the other fellow hell

4. “Live and Let Die” by Paul McCartney & Wings from Live and Let Die (1973)

Paul McCartney wrote his Bond theme after reading Ian Fleming’s novel Live and Let Die. Then he reunited with Beatles producer George Martin at AIR Studios in London to record it with Wings. However, film producer Harry Saltzman thought Martin and McCartney had only recorded a demo of the song. According to McCartney, Saltzman asked Martin, “When are you going to make the real track, and who shall we get to sing it?” Saltzman suggested Thelma Houston might be the right voice for the song. Martin, responded, “What? This is the real track!”

3. “Goldfinger” by Shirley Bassey from Goldfinger (1964)

On “Goldfinger,” Shirley Bassey belts over John Barry’s heavy brass orchestra. George Martin produced “Goldfinger” at Abbey Road, featuring a young Jimmy Page on guitar. Page told GQ that Bassey “ran out of breath and collapsed” after singing the long, final note: Gold! The song reached No. 8 on the Billboard Hot 100, Bassey’s only Top-10 on the chart. Meanwhile, critics blasted the lyrics to “Goldfinger,” but Bassey’s exquisite voice lifts the third Bond theme to a towering cinematic cabaret.

2. “The James Bond Theme” by John Barry and Orchestra from Dr. No (1962)

Monty Norman adapted the James Bond theme from an earlier song. He’d written “Bad Sign, Good Sign” for the musical A House for Mr Biswas, based on V. S. Naipaul’s novel. John Barry used variations on Norman’s iconic theme in 11 James Bond films. This one from Dr. No and its big band swing echoes the “blue” notes of Claude Debussy—whom Duke Ellington called the precursor to jazz. Norman’s dum di-di dum dum motif is as recognizable as Beethoven’s Fifth Symphony.

1. “Diamonds Are Forever” by Shirley Bassey from Diamonds Are Forever (1971)

Bassey’s “Diamonds Are Forever” almost didn’t make the film due to its innuendo. Composer John Barry told writer Don Black: “Write it as if she’s thinking about a penis.” The sultry song is sung with romantic nihilism toward the human connection. Barry’s tinkling eight-note ostinato suggests the sparkling gem. An ominous organ figure with a bright, shiny sound. In Bond’s greatest theme, Bassey sings from an abyss of materialism and repeats the refrain with a soaring vocal as if to convince herself she’s evolved beyond the need for human touch.

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