Mr kiss kiss bang bang dionne warwick how to#

Black came up with some vague and ambiguous lyrics which could easily have been used to describe villain Emilio Largo as Bond himself. Underwater Mayhem/Death Of Largo/End TitlesĮxperiencing the same lyrical problems as he had encountered previously, Barry turned to lyricist Don Black. Fighting The Plane/Underwater Ballet/Bond With SPECTRE Frogmen/Leiter To The Rescue/Bond Joins Underwater Battleġ7. Bond Meets Domino/Shark Tank/Lights Out For Paula/For King And Countryġ6. Gunbarrel/Traction Table/Gassing The Place/Car Chaseġ4. Producers Broccoli and Saltzmann realised that the previous films had featured the film’s title in the song and they believed that Thunderball also needed a song with the title included.ġ3. However, shortly before the premiere of Thunderball, Barry was asked to write a new theme for the film. The jaunty tune worked well as the backdrop for the scenes depicting the vibrant Nassau nightlife, and the Bahamian Mardi Gras celebrations. Indeed, the tune from Mr Kiss Kiss Bang Bang can be heard on tracks such as Cafe Martinique and Death of Fiona. The film also featured the ‘Kiss Kiss’ club – the site of the death of SPECTRE assassin Fiona Volpe.īarry recorded Mr Kiss Kiss Bang Bang with both Shirley Bassey and Dionne Warwick and then used the basic melody from the song as the basis for the remainder of his score, as he had done with previous films. Teaming up once again with lyricist Leslie Bricusse (with whom Barry had worked on Goldfinger), Barry composed a song entitled Mr Kiss Kiss Bang Bang – a nickname that Bond had been given by Japanese audiences. Not lending itself to lyrical treatment, Barry decided to compose an alternative theme for the film. No-one was entirely sure what a ‘thunderball’ was – the term was used in the film simply as the name of the operation to recover the two atomic bombs from SPECTRE.

Mr kiss kiss bang bang dionne warwick how to#

His immediate problem was how to incorporate the unusual film title into a coherent song. From Bond’s ‘jet-pack’ in the pre-credit sequence to the multi-million dollar hydrofoil Disco Volante, the film was grander and more lavish than any of the previous films.Īfter the commercial success of the soundtrack to Goldfinger, John Barry was once again asked to compose the score to Thunderball. With a budget of six and a half million dollars, Thunderball pulled no punches in its action sequences and gadgets.

In an attempt to ensure the Bond franchise remained at the forefront of the action genre, Cubby Broccoli and Harry Saltzman decided to make Thunderball, Fleming’s ninth James Bond book. The success of the first three James Bond films in the early 1960s had led to a huge array of copycat spy thrillers.