Speaking of legendary crescendos and perfect voices for the franchise.... Bassey's Welsh compatriot Tom Jones simply astonishes in what is, unbelievably, the only Bond theme he's ever done. The subject of the lyrics is Bond himself, and Jones is possibly the only singer in the world whose vocals could match Sean Connery's onscreen swagger. Jones's vocal interpretation approaches the melodramatic, but never becomes embarassing. The song itself incorporates not one but three of Barry's themes. And those lyrics. If you ever need an infusion of confidence, this'll do.

BEST MOMENT: It can only be "Like Thun-der-BAAAAAAAAAAAAALLLLLLL!!!!!" According to legend, Jones passed out after singing the note.

GRADE: A+

"You Only Live Twice"—Nancy Sinatra (from You Only Live Twice, 1967)

Perhaps the most underrated of the early Bond themes. Music fans nowadays mostly know Sinatra as Frank's daughter, or from "These Boots Were Made for Walkin," but she was an outstanding vocalist in her own right. Her silky smooth elegance is a great fit for the prettiest Bond theme ever. A few points off for not having enough edge, although it's tough to criticize a song that works so well on its own.

BEST MOMENT: "And lllllove is the stranger whoooooo beckons you on." That "L." I think I'm in love.

GRADE: A-

"We Have All The Time In The World"—Louis Armstrong (On Her Majesty's Secret Service, 1969)

A study in contradictions. On the one hand, it's Louis Armstrong, which means it's inherently awesome. On the other hand, it's late Louis, which means there's a vague whiff of sanitization and dumbed-downness to it, which is sad. It's the most optimistic of the themes, which is great. But do we really want an optimistic, romantic Bond theme? Not sure. One thing is certain, though: The closing trumpet "solo" is a travesty. It's 15 seconds long and completely boring. It serves no musical purpose, save to remind casual fans that Louis Armstrong plays the trumpet. Shameful. But how can you give Satchmo a bad grade?

BEST MOMENT: Any and every time Louis says "In the woild." Try not to be happy when he does. It's impossible.

GRADE: B

"Diamonds Are Forever"—Shirley Bassey (Diamonds Are Forever, 1971)

Shirley takes the Classic Era out in style with a masterpiece. It's the kind of song Eartha Kitt would have seemed like a better fit for—but, would have taken too far into camp. Bassey holds back just enough, but brings out her inner sex kitten during the quiet parts of the song to balance the explosive diva sections ("I don't-need-looooooove"). The song has a worldview that sets up the urgency of the film (better than the film itself, regrettably). Everyone filling out an application to sing a Bond theme should be forced to listen to this one repeatedly.

BEST MOMENT: It's a shame to keep picking crescendos, but it has to be "Aaaaand evaaaaaaaahhhhh!"