JOHN BARRY - THE JAMES BOND THEME

Publicada: Octubre de 1962

Llistes: Regne Unit: #13

“The James Bond Theme” va ser composada per Monty Norman i arranjada per John Barry per a la pel·lícula “Dr. No” de 1962. Pertany al gènere de la banda sonora de pel·lícules d’espies i a l’orquestració cinematogràfica. L’enregistrament fet per la John Barry Orchestra va arribar al número 13 de la llista de singles del Regne Unit aquell mateix any.

Des del moment en què el primer tret travessa la seqüència de la mira a “Dr. No”, “The James Bond Theme” anuncia l’arribada del espia més icònic del cinema. Composada per Monty Norman i transformada pel poderós arranjament de John Barry, aquesta peça instrumental amb infusió surf i metals contundents s’ha convertit en la signatura sonora de James Bond.

Tot i que la melodia original és de Norman, va ser l’arranjament de Barry—amb guitarra elèctrica, cors de metall i un ritme implacable—el que li va donar el so inconfusible i etern. Tot i les disputes legals (Barry va afirmar durant anys haver-ne estat l’autor real), els tribunals van confirmar Norman com a únic autor fins a la seva mort el 2022, i ell va continuar rebent royalties durant dècades.

El tema no es va limitar als títols inicials: es va integrar en gairebé totes les pel·lícules de Bond com una firma musical adaptable. S’utilitza per anunciar l’entrada de Bond, en escenes de persecució, combats i moments culminants. I amb cada actor nou, la música també evolucionava.

L’evolució del tema segons l’era Bond:

• Sean Connery: forta influència de jazz i surf-rock.

• George Lazenby (“On Her Majesty’s Secret Service”, 1969): versió amb sintetitzador Moog.

• Roger Moore (anys 70): es van afegir elements de disco, funk i fins i tot humor (com un encantador de serps tocant la melodia a “Octopussy”).

• Timothy Dalton: tons més foscos, amb orquestració dramàtica i influències de rock.

• Pierce Brosnan: combinació de sintetitzadors, techno i elements clàssics.

• Daniel Craig: a “Casino Royale”, no sona el tema complet fins al final de la pel·lícula, quan Bond esdevé plenament el 007—una decisió narrativa per marcar la seva transformació.

Fins avui, s’han enregistrat més de 70 versions del tema en diversos estils: jazz, rock, techno, orquestral, i fins i tot salsa (“No Time to Die”, 2021).

“The James Bond Theme” no és només música de fons—és una identitat sonora. Connecta el personatge amb l’audiència, i amb cada frase transmet perill, elegància i control. La seva evolució reflecteix els canvis de la cultura pop, però el seu nucli continua intacte: misteriós, seductor, letal. No és només un tema—és el so de Bond.

JOHN BARRY - THE JAMES BOND THEME

Released: October 1962

Charts:  UK: #13 

“The James Bond Theme” was composed by Monty Norman and arranged by John Barry for the 1962 film “Dr. No”. It falls within the genre of spy film score and cinematic orchestration, characterized by its signature sound that blends surf-rock guitar, jazz brass, and moody orchestral motifs. The John Barry Orchestra’s recording of the theme reached number 13 on the UK Singles Chart in 1962. 

From the moment the first bullet hole ripples through the gun barrel in “Dr. No”, “The James Bond Theme” announces the arrival of cinema’s most iconic spy. Composed by Monty Norman and arranged into its signature style by John Barry, this surf-infused, brass-heavy instrumental became Bond’s audio calling card.

Though Norman wrote the original tune, it was Barry’s arrangement—using electric guitar, bold horns, and driving rhythm—that gave it its lasting power. Despite legal disputes (Barry long claimed he authored it), courts upheld Monty Norman’s authorship until his death in 2022, with Norman receiving royalties for decades. The theme was used not just as a title motif but woven into nearly every Bond film as a flexible, adaptive sonic signature. It accompanies Bond’s entrances, chase scenes, and climactic showdowns, adapting with each actor and era.

Across six decades, the theme evolved with the times:

• Sean Connery’s era leaned heavily into jazz and surf-rock.

• George Lazenby’s film (On Her Majesty’s Secret Service, 1969) featured a Moog-synth take.

• Roger Moore’s 70s Bond brought disco, funk, and even diegetic humor (a snake charmer playing the riff in Octopussy).

• Timothy Dalton’s entries brought darker, orchestral and rock-infused versions.

• Pierce Brosnan’s films featured synthesizer and techno reworkings alongside more traditional brass stabs.

• Daniel Craig’s reboot (Casino Royale) withheld the full theme until Bond “earned” it—only playing it in full during the film’s climactic ending scene, symbolizing his transformation into the 007 we know.

Over 70 cover versions have been recorded, and it has appeared in various styles: jazz, rock, techno, orchestral, and even salsa (“No Time to Die”, 2021).

“The James Bond Theme” isn’t just background music—it’s an identity. It bridges character and audience, setting the tone for danger, confidence, and control with every phrase. Its evolution mirrors pop culture’s shifts, yet its core—mysterious, suave, deadly—remains untouched. It’s more than a theme—it’s the sound of Bond.

SKY - CANNONBALL

Released: May 4, 1979

Album: Sky

In 1979, at the height of progressive rock’s experimentation and just before the new wave took over radio waves, a group of virtuoso musicians released an instrumental track that fused classical technique with rock energy. That group was Sky, and the song was “Cannonball.” As its name suggests, the piece came out like a blast—loud, fast, precise, and unstoppable.

Formed in the late 1970s, Sky was a supergroup in the truest sense. It brought together australian classically trained guitarist John Williams, harpsichordist and keyboardist Francis Monkman (formerly of Curved Air), electric guitarist Kevin Peek, bassist Herbie Flowers (best known for his work on Lou Reed’s “Walk on the Wild Side”), and drummer Tristan Fry, who had played with the Academy of St Martin in the Fields.

“Cannonball” appears on “Sky”, the band’s debut album released in June 1979, which enters the UK Albums Charts. It was one of the standout tracks, known for its blazing tempo and technical precision. Built around a relentless, driving motif, “Cannonball” is something like a baroque fugue being shot out of a machine gun. Monkman’s synthesizers whirl and jab, Fry’s drumming is ferocious and locked-in, and the interplay between electric and classical guitars gives the piece its distinctive tension between elegance and chaos.

Sky wasn’t a rock band in the traditional sense. They didn’t sing. They didn’t write chart-topping ballads. Instead, they blurred the lines between genres: part classical ensemble, part prog-rock juggernaut, part jazz fusion outfit. Their live performances often included Bach preludes, Latin dances, and electric improvisation—all in the same set. “Cannonball” encapsulated this ethos: it was fast, dramatic, and intellectually demanding, but also undeniably thrilling. It stood as proof that instrumental virtuosity could still move crowds and sell records.

 

JOE SATRIANI - SURFING WITH THE ALIEN

Released: October 15, 1987

Album: Surfing with the Alien

In 1987, guitarist Joe Satriani, a relatively unknown virtuoso at the time, released a track that would help redefine instrumental rock: “Surfing with the Alien.” It wasn’t just a song—it was a supernova of sound, a six-string voyage that launched listeners into hyperspace, one fretboard run at a time.

The idea was simple and wild: What if aliens came to Earth—not to conquer, but to party? No one had ever made that sci-fi leap in music before. Not like this. Satriani was struck by the thought in an almost casual moment of inspiration, and the music followed—blistering, jubilant, otherworldly.

“I had never seen a science fiction movie about that,” Satriani told years later. “So I thought—what would that sound like?” That sound became “Surfing with the Alien,” the title track of his breakthrough second album. A blend of shred guitar, blues phrasing, and melodic precision, the song was a galloping ride on cosmic waves—an instrumental joyride strapped to a rocket.

Despite the album’s iconic Silver Surfer cover, Satriani had never heard of the Marvel superhero. That decision was made post-production by his label, Relativity Records, who secured the rights from Marvel. The match was serendipitous: the Silver Surfer—an alien skimming across galaxies on a surfboard—was the perfect visual counterpart to Satriani’s sky-scorching sonic style.

“Surfing with the Alien” became a defining track for a generation of guitarists. It didn’t just showcase virtuosity—it had narrative, momentum, and imagination. It sang, without a single word. And as fate would have it, the following year Hollywood caught up with Satriani’s idea: “Earth Girls Are Easy,” a film about fun-seeking extraterrestrials, hit the screens. But Satriani had already written the soundtrack to that concept—without needing a script or a single line of dialogue.

SPACE - MAGIC FLY

Publicada: Abril de 1977

Llistes d’èxits: Regne Unit: núm. 2

L’any 1977, en plena efervescència del disco, el punk i el rock progressiu, un enigmàtic grup francès anomenat Space va llançar “Magic Fly”, una peça instrumental que semblava haver arribat d’un altre planeta. Amb sintetitzadors resplendents, un ritme pulsant i un to inquietantament futurista, Magic Fly es va convertir en una fita del space disco —un gènere que fusionava la música electrònica amb imatgeria còsmica i beats ballables. Un viatge galàctic que va portar el synth-pop francès a l’estratosfera.

El grup estava liderat pel teclista Didier Marouani, que al principi es feia dir Ecama. Space va ser una de les primeres bandes europees a escollir plenament els sintetitzadors com a instruments principals. Tot i beure de referents com Jean-Michel Jarre, Kraftwerk o Giorgio Moroder, “Magic Fly” tenia un aire cinematogràfic i misteriós, hipnòtic i oníric, com si fos la banda sonora d’un somni de ciència-ficció.

Llançat a l’abril del 1977, el tema es va fer ràpidament popular a Europa, i especialment al Regne Unit, on va arribar fins al núm. 2 de les llistes, una proesa inusual per a una peça electrònica instrumental. En una època dominada pel glam rock i el disco vocal, Space obria un camí nou i aliè als cànons habituals.

Per accentuar el misteri, els membres de Space actuaven amb vestits espacials i viseres, sense mostrar mai la cara. Aquesta posada en escena no era cap estratègia comercial superficial: reflectia l’essència de la seva música —una narrativa sonora de ciència-ficció que es desmarcava radicalment del format tradicional del rock.

Magic Fly es basa en sintetitzadors ARP i màquines string, tot plegat sobre una base de caixa de ritmes mecànica però càlida. La seva melodia —simple, cíclica i espectral— recorda un satèl·lit musical orbitant la Terra. No hi ha lletra, només expressió a través de textures i sons: una narrativa emocional feta exclusivament amb sintetitzadors.

El que feia que destacés no era només la seva innovació tècnica, sinó la seva capacitat per emocionar sense paraules. No era només música per ballar —era música per imaginar, per mirar les estrelles i preguntar-se què hi ha més enllà.

Tot i que Space no va aconseguir una fama massiva fora d’Europa continental, Magic Fly va influir tota una generació d’artistes electrònics i DJs. Sovint es considera una pionera de l’Italo disco, del techno ambiental i fins i tot de l’actual synthwave. També va preparar el terreny per a l’onada electrònica francesa dècades més tard, obrint camí a noms com Daft Punk o Air.

Amb els anys, el tema ha estat reeditat, remesclat i samplejat nombroses vegades. Avui continua sent un clàssic de culte, estimat per amants de la música, col·leccionistes, DJs i somiadors del cosmos.

SPACE - MAGIC FLY

Released: April 1977

Charts: UK: #2 

In 1977, amidst the rise of disco, punk, and prog rock, a mysterious French group named Space released “Magic Fly”, an instrumental track that sounded like it had drifted down from another planet. With its shimmering synthesizers, pulsing rhythm, and hauntingly futuristic tone, “Magic Fly” became a landmark in space disco—a genre that merged electronic music with cosmic imagery and danceable beats. A cosmic voyage that launched French synth-pop into the stratosphere.

Led by keyboardist Didier Marouani, who initially used the pseudonym Ecama, Space emerged as one of the first European acts to fully embrace synthesizers as lead instruments. Their music carried the influence of pioneers like Jean-Michel Jarre, Kraftwerk, and Giorgio Moroder, but “Magic Fly” had a distinctly cinematic and otherworldly atmosphere—mysterious yet hypnotic, almost like the soundtrack to a sci-fi dream.

The track was released in April 1977 and quickly gained traction across Europe, especially in the UK, where it reached #2 on the Singles Chart—an unusual feat for an instrumental electronic piece. In an era of glam rock and disco, this was bold, alien territory.

To add to the mystique, Space performed in full spacesuits and visors, never revealing their faces. Their stage presence resembled astronauts from a distant future, which only deepened the mythos of the music. This image was not a gimmick—it matched the sound’s sci-fi narrative and underscored how electronic music was detaching itself from traditional rock and roll formats.

“Magic Fly” is built on ARP synthesizers and string machines, layered over a mechanical yet warm drum machine pattern. Its melody—simple, looping, and eerie—feels like a musical satellite orbiting Earth. There are no lyrics, only pure synthesizer storytelling, expressing emotion through texture and tone rather than words.

What made it stand out wasn’t just its innovation—it was how timeless and strangely moving it sounded. It wasn’t just music for dancing; it was music that invited listeners to imagine, to stare at the stars and wonder.

Though Space never became a household name beyond continental Europe, “Magic Fly” influenced a generation of electronic artists and DJs. It is often cited as an early blueprint for Italo disco, ambient techno, and synthwave. It also set the stage for the French electronic wave decades later—paving the way for artists like Daft Punk and Air. The track has been reissued, remixed, and sampled many times. It remains a cult classic, a favorite among crate-diggers, DJs, and sci-fi lovers alike.

THE DAVE BRUBECK QUARTET - TAKE FIVE

Publicació: 21 de setembre de 1959

Llistes: EUA: #25 · Regne Unit: #6

L’any daurat de 1959, enmig de l’optimisme del període de postguerra i la inquietud creixent dels músics de jazz decidits a trencar motlles, va emergir una cançó peculiar—ni en 4/4, ni en 3/4, sinó en 5/4. Aquella peça era “Take Five”, una anomalia musical composada per Paul Desmond, arranjada per Dave Brubeck i portada a la glòria pel Dave Brubeck Quartet. Amb el temps, es convertiria en el single de jazz més venut de la història, seria inclosa al Grammy Hall of Fame i esdevindria l’himne inesperat del jazz modern.

Però el naixement de la peça va ser de tot menys convencional. La idea va començar a gestar-se durant la gira de Brubeck del 1958 per Euràsia, organitzada pel Departament d’Estat dels EUA. Aquesta missió de diplomàcia musical va inspirar el pianista a explorar compassos poc habituals en el jazz occidental. En tornar a casa, va concebre un àlbum sencer —“Time Out”— basat en messures inusuals. Per a la tercera pista, el bateria Joe Morello, conegut per la seva precisió i creativitat, va suggerir provar una peça en compàs de cinc temps (5/4).

Desmond, el saxofonista alt relaxat però líric del quartet, va acceptar el repte a contracor. Va esbossar dues frases melòdiques, línies blaves i flotants sobre el ritme pausat de Morello. Però no sabia com transformar-les en una cançó completa. “No puc escriure una peça en 5/4”, li va confessar a Brubeck, a punt d’abandonar. Però Brubeck, sempre visionari, va veure-hi potencial. Va donar forma a les idees de Desmond dins l’estructura clàssica A-A-B-A, i junts li van donar forma, sabor i ànima.

El títol, “Take Five”, té un doble significat: fa referència tant al compàs de cinc temps com a l’argot del jazz per indicar una pausa breu. La peça està en mi bemoll menor, basada en l’escala de blues, i es construeix sobre un vamp de piano contagiós, els plats nítids de Morello i, és clar, el saxo elegant i flotant de Desmond—una combinació d’elegància i swing.

Llançada com a single el 1959, “Take Five” va passar desapercebuda al principi, però el 1961 ja era un fenomen—una peça de jazz convertida en èxit pop. Va entrar a les llistes, es va escampar i es va mantenir amb el temps. Durant les dècades següents, va aparèixer en pel·lícules com “Mighty Aphrodite”, “Pleasantville” i “Constantine”, i fins i tot es va convertir en referència per a audòfils, pel seu so natural i la separació impecable entre instruments.

L’àlbum “Time Out” de Brubeck, que inicialment havia generat escepticisme entre els executius de la discogràfica per contenir només peces originals i messures excèntriques, va trencar les regles de la indústria. “S’equivocaven”, diria Brubeck més tard. El públic no només l’escoltava—hi ballava, fins i tot en 5/4. L’èxit de “Take Five” va validar la gosadia de l’àlbum i va demostrar que el jazz podia innovar sense perdre l’accessibilitat.

THE DAVE BRUBECK QUARTET - TAKE FIVE

Released: September 21, 1959

Charts:  US: #25   UK: #6 

In the golden year of 1959, amidst the post-war optimism and the growing restlessness of jazz musicians eager to push boundaries, a peculiar song emerged—not in 4/4, not in 3/4, but in 5/4 time. That track was “Take Five”, a musical anomaly composed by Paul Desmond, arranged by Dave Brubeck, and carried to greatness by the Dave Brubeck Quartet. It would go on to become the best-selling jazz single of all time, a Grammy Hall of Fame inductee, and the unlikely anthem of modern jazz.

But the track’s birth was anything but conventional. The idea took root during Brubeck’s 1958 U.S. State Department tour across Eurasia, a musical diplomacy mission that inspired the pianist to explore time signatures rarely heard in Western jazz. He returned home with an idea to craft an entire album “Time Out” built on unusual meters. For the third track, drummer Joe Morello—known for his precision and creativity—suggested trying a piece in quintuple time (5/4).

Desmond, Brubeck’s laid-back yet lyrical alto saxophonist, rose to the challenge—reluctantly. He scribbled down two melodic fragments, floating bluesy lines over Morello’s loping drum rhythm. But he felt stuck, unsure how to shape it into a full tune. “I can’t write a song in 5/4,” Desmond told Brubeck, nearly abandoning the effort. But Brubeck, ever the architect, saw promise. He stitched Desmond’s ideas into a classic A-A-B-A structure, and together they gave it form, flavor—and soul.

Then came the title: a double entendre. “Take Five” referred both to the five-beat measure and the common jazz slang for a short break. The track is in E-flat minor, built on the blues scale, and driven by an infectious piano vamp, Morello’s crisp ride cymbal, and, of course, Desmond’s cool, floating saxophone—equal parts elegance and swing.

Released as a single in 1959, “Take Five” was initially a sleeper, but by 1961, it had caught fire—a jazz song becoming a pop sensation. It charted, it spread, it endured. In the decades that followed, it found new life in films like “Mighty Aphrodite”, “Pleasantville”, and “Constantine”, and even became an audiophile’s reference track—praised for its natural-sounding cymbals and instrument spacing.

Brubeck’s “Time Out” album, which record executives had doubted due to its all-original content and eccentric meters, defied industry rules. “They were wrong,” Brubeck later said in an interview. Audiences didn’t just listen—they danced to it, even in 5/4. The success of “Take Five” validated the album’s daring concept and showed that jazz could innovate without losing accessibility.