#LICENCE TO KILL SONG FULL#
Kamen scores Bond in the way that he scored his other 80s action films with music that is full of suspense and drama but very little subtlety. Unlike many Bond scores of old – including those by Barry, Martin and Hamlisch – Licence to Kill is not a lush, melodic soundtrack. Rather than being individual score excerpts, the soundtrack pieces are amalgams of various musical cues and sequences in the film. The remainder of the album features Kamen’s score, performed by the Royal Philharmonic Orchestra. Also featuring on the soundtrack – and in the sequence where Bond visits a sleazy bar to meet Pam – is the 80s-esque American pop single Dirty Love, performed by Tim Feehan. Written by Diane Warren, the song was only a minor hit for LaBelle but later reached the top Ten when covered by Canadian chanteuse Celine Dion. Patti LaBelle’s If You Asked Me To – the soundtrack to the end credits – is also included. The track Wedding Party, briefly used during Felix and Della’s celebrations, is highly reminiscent of the Jamaican party scenes in the first Bond film, Dr No indeed the song features the lyrics ‘jump up’, the song made famous by the 1962 film. The Licence to Kill soundtrack is also unusual in that it also features several vocal songs. It is also one of the longest songs ever to be used in a Bond film. Based on the horn line of the song Goldfinger, Licence to Kill was so reminiscent of Barry’s 1964 theme that the composer was eventually credited on later releases. For the theme tune, attempts to unite Eric Clapton and Vic Flick – the guitarist who memorably recorded the original James Bond theme – to record an updated Bond title tune were ultimately unsuccessful.Ĭonsequently, the producers then chose a song written by respected American writer Narada Michael Walden, Jeffrey Cohen and Walter Afanasieff and sung by Gladys Knight to accompany Maurice Binder’s final opening credits sequence.Īfter Duran Duran and a-Ha’s pop based Bond themes, Licence to Kill was a return to the grand, brassy Bond sound of old. Sanchez Is In The Bahamas/Shark FishingĪfter his success with scoring 80s action pictures including Die Hard and Lethal Weapon, Michael Kamen was an obvious choice for Bond 16. Instead, The Living Daylights would prove to be Barry’s last Bond soundtrack, leaving the producers to hire a new composer for Licence to Kill.Ĩ. Licence to Kill would almost certainly also have marked the end of John Barry’s long association with the franchise, had throat surgery not rendered him unable to score the film. Not only did it mark the end of Timothy Dalton’s brief tenure as 007 but it also marked the last contributions of actor Robert Brown (M), title designer Maurice Binder, producer Cubby Broccoli and director John Glen.
The sixteenth Bond film was to be, in many ways, a watershed in the long running franchise.
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