SCOTT SIMON, HOST:
The new "James Bond" movie means a new "Bond" villain, two new "James Bond" women, one of whom will probably be painted gold or otherwise dispatched by the villain. It means M, Q, Moneypenny and a "Bond" song.
(SOUNDBITE OF SONG, "DIAMONDS ARE FOREVER")
DAME SHIRLEY BASSEY: (Singing) Diamonds are forever.
(SOUNDBITE OF SONG, "GOLDENEYE")
TINA TURNER: (Singing) GoldenEye, I found his weakness.
(SOUNDBITE OF SONG, "DIE ANOTHER DAY")
MADONNA: (Singing) I guess, die another day. I guess I'll die another day.
SIMON: Twenty-four "Bond" films leave a lot of music to be analyzed. And the Oxford University Press has done just that in "The James Bond Songs: Pop Anthems Of Late Capitalism." A couple of Stanford professors devote their brain power to this. Adrian Daub, who teaches German Studies, and Charles Kronengold, who teaches music - they join us now from the studios at Stanford University. Gentlemen, thanks so much for being with us.
CHARLES KRONENGOLD: Thanks for having us.
ADRIAN DAUB: Thank you, Scott.
SIMON: Let's listen to a little bit, if we could, of Dame Shirley Bassey and "Goldfinger."
(SOUNDBITE OF SONG, "GOLDFINGER")
BASSEY: (Singing) It's the kiss of death from Mister Goldfinger. Pretty girl, beware of this heart of gold. This heart is cold.
SIMON: Did this break the mold - or no, did this make this mold, I should say?
DAUB: It did. This is the song that everybody's been trying to copy ever since. And it's the standard that listeners hold these songs up to on whatever level of consciousness. You listen to a new song every two or three years, and, on some level, you ask - is this measuring up to what Shirley Bassey did with "Goldfinger?"
SIMON: You write extensively in this book of Nancy Sinatra's rendition of "You Only Live Twice." Let's hear a bit of that if we could.
(SOUNDBITE OF SONG, "YOU ONLY LIVE TWICE")
FRANK SINATRA: (Singing) This dream is for you, so pay the price. Make one dream come true. You only live twice.
SIMON: Now, one of the things you point out in this book is some of the best known recording artists of their time have done a "James Bond" song. And yet, if you do a best hits of that artist, that Bond song is not necessarily there. Why do you think that is?
KRONENGOLD: I think it's because there are so many constraints put on you when you're writing a "Bond" song or singing a "Bond" song, that you have to feel yourself, you know, kind of compromise - kind of pulled in two directions or three directions at once. I mean, if you're a lyricist, having to use a ridiculous word like moonraker or thunderball is not going to make your life any easier or pleasanter.
KRONENGOLD: And so it's not necessarily going to be your best work, so the records don't necessarily add up.
SIMON: Let's hear another bit of music from a group of underachieving, old sot (ph) British musicians. This one happens to be Sir Paul McCartney.
(SOUNDBITE OF SONG, "LIVE AND LET DIE")
PAUL MCCARTNEY AND WINGS: (Singing) Say live and let die. Live and let die. Live and let day. Live and let die.
SIMON: Now, Professors Daub and Kronengold, do you think there's a little bit of composer autobiography in this song?
DAUB: Yeah, I think it would have been hard for someone to hear that in the mid-70s about someone who used to say live and let live. But the world around him changed, and now, he, you know, has to say live and let die - and not think of the man, you know, at the mic.
KRONENGOLD: Yeah, I mean being an ex-Beatle is probably about - you know, in 1973, '74 - is probably about as weird as being a James Bond who is not the guy who was the James Bond 10 years earlier and who was not the guy who was a James Bond in the books. You know, this is Roger Moore when people are just getting used to this idea that Bond is going to be somebody other than Sean Connery and the idea that Paul McCartney is going to be still around, still making music, but not being with the Beatles. And this song brings that out in a really nice way.
SIMON: Let's hear a little of the most recent "Bond" song, "Writing's On The Wall," Sam Smith for "Specter."
(SOUNDBITE OF SONG, "WRITING'S ON THE WALL")
SAM SMITH: (Singing) I want to feel love run through my blood. Tell me, is this where I give it all up? For you, I have to risk it all 'cause the writing's on the wall.
SIMON: Menace, danger, glamour - what are we hearing?
KRONENGOLD: Well, not enough menace and danger for our taste - it seems like they forgot about the swagger and the menace and the bite that the best "Bond" songs have.
DAUB: At the same time, there's one part of it that we really like. And it seem to be the one that everybody else hates, which is when you get to the chorus, you know, a "Bond" song is supposed to play to the rafters. It's supposed to yell out the word goldfinger over and over and over again. And that's the thing that Sam Smith, probably listening back to the canon for 50 years, decides not to do. The song builds to this amazing crescendo and then just kind of ends with this whimper.
(SOUNDBITE OF SONG, "WRITING'S ON THE WALL")
SMITH: (Singing) 'Cause the writing's on the wall.
SIMON: You say that in the end, "Bond" songs are perishable, and that's OK.
DAUB: Absolutely. A "Bond" song, from the very first, says, I will be here. I will be all over the charts. People will be humming me in elevators or in their cars, and then you'll forget about me, and there will be another one in two years. A pop song is supposed to stride onto the scene with a sort of cocksure sense that this is all there is. This is all you should care about right now. And "Bond" songs are very honest with us. They say, I'm a product tie-in for a movie. And eventually, you'll forget about me, and that's all right.
SIMON: Adrian Daub and Charles Kronengold of Stanford - "The James Bond Songs: Pop Anthems Of Late Capitalism" is their book. Thanks so much for being with us.
KRONENGOLD: Thanks for having us.
DAUB: Thank you.
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