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		<font size="5"><b>Latest 'Bond' theme a 'Quantum' of Bad</b></font></div>
	<p><i><font face="arial,helvetica,sans-serif" size="2">October 13, 2008</font></i></p>
	<p><font face="arial,helvetica,sans-serif" size="2"><b>BY JIM DeROGATIS POP 
	MUSIC CRITIC</b></font></p>
	<div class="entry-content">
		<p class="MsoNormal" style="line-height: normal">
		<span style="font-size: 12.0pt; font-family: Times New Roman">The 
		pairing sounds like one of those fantasies rock critics conjure when 
		lamenting an obvious talent sunk by mainstream pandering and overly 
		polished production values:</span></p>
		<p class="MsoNormal" style="line-height: normal"><i>
		<span style="font-size: 12.0pt; font-family: Times New Roman">&quot;With her 
		undeniable keyboard virtuosity and soulful, sultry vocals, it's a shame 
		to hear Alicia Keys continually drowning in a sea of mainstream R&amp;B 
		gloss. How powerful could that voice and those keyboards be if they were 
		backed by a real flesh-and-blood, dirt-'n'-grime blues band like, say, 
		the White Stripes?&quot;</span></i></p>
		<p class="MsoNormal" style="line-height: normal">
		<span style="font-size: 12.0pt; font-family: Times New Roman">Well, now 
		we know. And, sadly, instead of Detroit's platinum-selling garage-blues 
		auteur elevating the Gap ad R&amp;B queen, Keys simply succeeds in making 
		Jack White sound like a mediocre retro-rocker much like Lenny Kravitz or 
		Chris Robinson of the Black Crowes.</span></p>
		<p class="MsoNormal" style="line-height: normal">
		<span style="font-size: 12.0pt; font-family: Times New Roman">After Amy 
		Winehouse blew the assignment in the midst of her drug-fueled 
		self-destruction, producers turned to Keys and White to craft the theme 
		song for &quot;Quantum of Solace,&quot; the latest &quot;Bond&quot; film (No. 22, to be 
		exact). The duo delivered a little ditty called &quot;Another Way to Die,&quot; 
		written by White but dominated by Keys. And though the movie doesn't 
		open in theaters until Nov. 14, the song and the video are already 
		ubiquitous on the Net.</span></p>
		<p class="MsoNormal" style="line-height: normal">
		<span style="font-size: 12.0pt; font-family: Times New Roman">&quot;Another 
		Way to Die&quot; has the distinction of being the first duet in the long 
		history of Bond-branding ditties, as well as one of the few with a title 
		different from the name of the movie. But its unique attributes end 
		there.</span></p>
		<p class="MsoNormal" style="line-height: normal">
		<span style="font-size: 12.0pt; font-family: Times New Roman">White's 
		fuzz-drenched guitar rubs uneasily against Keys' tinkling piano, and his 
		nasal voice sneers where Keys purrs; rather than 007 seducing yet 
		another possibly dangerous paramour, the impression these two create is 
		of some clumsy henchman in the shadows leering after a Bond beauty as 
		she sashays across the casino floor or the ballroom of some four-star 
		hotel. All buildup with no big-bang payoff, the tune lacks the killer 
		catchphrase choruses that mark the best Bond anthems.</span></p>
		<p class="MsoNormal" style="line-height: normal">
		<span style="font-size: 12.0pt; font-family: Times New Roman">I mean, 
		really, can you imagine singing along with the verbal spew in this 
		chorus? <i>&quot;A door left open/A woman walking by/A drop in the water/A 
		look in the eye/A phone on the table/A man on your side/Someone that you 
		think that you can trust is just/Another way to die.&quot;</i></span></p>
		<p class="MsoNormal" style="line-height: normal">
		<span style="font-size: 12.0pt; font-family: Times New Roman">Through 
		the years, more than 20 of the Bond movies have opened with an original 
		song, and 11 of those made the Billboard singles chart. But hiring 
		musical talents to write original themes has become increasingly rare in 
		this era of movie and record company synergy -- it's far more common to 
		hear familiar hits on soundtracks -- and only two of those 11 Bond hits 
		have come in the last 20 years.</span></p>
		<p class="MsoNormal" style="line-height: normal">
		<span style="font-size: 12.0pt; font-family: Times New Roman">Here is a 
		look at how the most memorable Bond theme songs compare, including the 
		great (lethal), the merely good (lustrous) and the downright lousy and 
		lame. (Many of these songs are included on an expanded CD and DVD 
		reissue of &quot;The Best of Bond ... James Bond,&quot; set to be released by 
		Capitol Records on Oct. 28.)</span></p>
		<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt">
		<span style="font-size: 12.0pt; font-family: Times New Roman">THE LETHAL</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Nancy 
		Sinatra, &quot;You Only Live Twice&quot; (1967): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">One of the 
		unheralded godmothers of punk, Sinatra really is the only woman on this 
		list who could have been a Bond villainess.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Shirley 
		Bassey, &quot;Goldfinger&quot; (1968): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Written by 
		John Barry, who's been called the Q of Bond theme music -- he also 
		penned the immortal &quot;James Bond Theme&quot; -- this ode to the film's villain 
		made Bassey's big, brassy voice one of the most celebrated sounds of the 
		late '60s.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Shirley 
		Bassey, &quot;Diamonds Are Forever&quot; (1972): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Almost as 
		enduring as &quot;Goldfinger&quot;; just ask Kanye West, who sampled it for his 
		hit &quot;Diamonds from Sierra Leone.&quot;</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Paul 
		McCartney and Wings, &quot;Live and Let Die&quot; (1973): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">One of the 
		hardest-rocking moments of Macca's often flaccid post-Beatles career.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Carly 
		Simon, &quot;Nobody Does It Better,&quot; from &quot;The Spy Who Loved Me&quot; (1977):
		</span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Sensual 
		and seductive; a perfect pop song. Written by Marvin Hamlisch, who said 
		the title was inspired by Bond's &quot;egomania.&quot;</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Garbage, 
		&quot;The World Is Not Enough&quot; (1999):</span></b><span style="font-size: 12.0pt; font-family: Times New Roman"> 
		One of the most chronically underrated Bond themes from one of the most 
		chronically underrated bands of the alternative era.</span></p>
		<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt">
		<span style="font-size: 12.0pt; font-family: Times New Roman">THE 
		LUSTROUS</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Tom Jones, 
		&quot;Thunderball&quot; (1965): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Whatever 
		his assets, Jones lacked the sincerity Bassey brought to the gig; you 
		get the sense that he's laughing all the way through it, but it's still 
		a good time.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Lulu, &quot;The 
		Man With the Golden Gun&quot; (1974): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">A 
		surprising bunt from the big-voiced balladeer who knocked it out of the 
		ballpark with &quot;To Sir, With Love.&quot;</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Rita 
		Coolidge, &quot;All Time High&quot; from &quot;Octopussy&quot; (1983): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">A fine 
		easy-listening trifle that could have been something else entirely if 
		she'd used the movie's title.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Tina 
		Turner, &quot;GoldenEye&quot; (1995): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Tina can 
		never be denied, but Bono and the Edge hardly gave her their best when 
		the U2 boys penned this tune for their neighbor in the south of France.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Sheryl 
		Crow, &quot;Tomorrow Never Dies&quot; (1997):</span></b><span style="font-size: 12.0pt; font-family: Times New Roman"> 
		A game attempt, but not quite up to her finest hits.</span></p>
		<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt">
		<span style="font-size: 12.0pt; font-family: Times New Roman">THE LAME</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Shirley 
		Bassey, &quot;Moonraker&quot; (1979): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">The third 
		time was not the charm for Bassey, as the producers dabbled in disco.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Sheena 
		Easton, &quot;For Your Eyes Only&quot; (1981): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">She missed 
		the morning train.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Duran 
		Duran, &quot;A View to a Kill&quot; (1985): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">One of the 
		whiniest tunes these hair-hoppers ever wrote.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">a-ha, &quot;The 
		Living Daylights&quot; (1987): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">It 
		certainly scared them out of me.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Gladys 
		Knight, &quot;License to Kill&quot; (1989): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">
		Simultaneously saccharine and bombastic.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Madonna, 
		&quot;Die Another Day&quot; (2002): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Doesn't 
		justify her love, or ours.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Chris 
		Cornell, &quot;You Know My Name&quot; from &quot;Casino Royale&quot; (2006): </span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">If only 
		Soundgarden had been around for this job. Or better yet, if the 
		producers gave it to Mudhoney.</span></p>
		<p class="MsoNormal" style="line-height: normal"><b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Jack White 
		and Alicia Keys, &quot;Another Way to Die&quot; from &quot;Quantum of Solace&quot; (2008):
		</span></b>
		<span style="font-size: 12.0pt; font-family: Times New Roman">Definitely 
		sounded better on paper. Makes you wish Amy Winehouse hadn't checked 
		out.</span></p>
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