Back when Roger Moore was still in the hotseat, there was a string of down-tempo, up-emotion Bond themes, starting with 1977’s The Spy Who Loved Me and ending with 1983’s Octopussy.
WHY IT WAS SHELVED: Another poor Bond decision here. These days Sheryl Crow, who ended up singing the 007 track, is mostly remembered for her comments on combating global warming with loo paper in 2007, when she said everyone should use “only one square per restroom visit, except, of course, on those pesky occasions where two to three could be required”. Lang is possibly the best of the lot, a powerful, Bassey-style performance, the shelving of which Bond fans still complain about years later. WHY IT WAS SHELVED: Tomorrow Never Dies was one of the most contested Bond themes to date, with Chris Rea, Pulp and Duran Duran among those throwing their hat in the ring. So I didn’t want to cheapen his effort.” This song by Rick Ross made the cut, though. I could have thrown it in quickly just to have it, but that’s not why he wrote it and not his intention. WHY IT WAS SHELVED: According to Quentin Tarantino, Frank “wrote a fantastic ballad that was truly lovely and poetic in every way, there just wasn’t a scene for it. After it was rejected, Counting Crows’ wholesome cereal equivalent ‘Accidentally in Love’ was used instead, but Pixies put ‘Bam Thwok’ on the iTunes store and hit the top spot on the iTunes chart in 4 countries. But for a film about a scary-looking monster aimed at kids, ‘Bam Thwok’ was pretty ideal – harmless, nonsensical lyrics alongside heavy, ogrish guitars. Maybe it was because of the weird 20-second organ breakdown in the middle of the song. WHY IT WAS SHELVED: Maybe it was because Pixies wrote a better song for the Fight Club soundtrack – ‘Where Is My Mind?’ – and the Shrek guys were jealous.
Radiohead spectre full song movie#
These past cases prove that movie execs make this kind of decision all the time – here are five times brilliant work was shelved. This kind of inexplicable soundtrack-shelving has plenty of precedents, though. Not only does Radiohead’s ‘Spectre’ knock all these targets flat as it manoeuvres its tortuous and muscular melody, but it also provides moments of thrilling, momentous drama. Can we all please just take a moment to consider something: what exactly was going through the heads of the James Bond team that decided to reject Radiohead’s Spectre theme? The execs probably think they’ve been vindicated – Sam Smith’s theme went to number one and spent six weeks in the top 10 on the UK chart – but in all seriousness, who actually rejects a Radiohead song of this quality?Ĭonsider what the Spectre theme brief might have been: to match the octopus symbolism and Bond’s poor emotional state they would have wanted it wistful sinewy ominous tentacular.
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