We’ve seen some guests take inspiration from the Austin Powers spoof. Or your guests could take their cues from some of the many Bond villains that are also instantly recognisable. Then there’s the fabulous 70s fashions of the Roger Moore era, and the modern Daniel Craig era. There’s Sean Connery’s timeless, elegant style. That doesn’t mean there isn’t still scope for your guests to indulge in a little creativity though! After all, Bond himself has changed a bit himself over the years. If that’s the mood you’re picturing for your party, the Bond theme is a perfect fit. Casino Royale theme party – your move, Mr Bond…Ī Casino Royale theme party is typically a high-class affair – it calls for suits and black tie for the gentlemen, gowns and heels for the ladies.

So it’s little wonder that when it comes time to throw a fantastic party, many people quickly think of Agent 007 and are keen to have a 007 Bond themed event. The melody feels as potent and foreboding when transposed to a full orchestra as it does when it’s played in a rock-opera style.Few characters and movie franchises have managed to capture our imaginations in the way that James Bond has. Reprising the theme song in a Bond film score isn’t a new practice, but the handoff between Cornell and Arnold, the “Casino Royale” composer, makes the song feel even more timeless.

It paved the way for “Another Way to Die,” Jack White and Alicia Keys’ unlikely, woefully underrated addition to the Bond theme collection. “Casino Royale”īut there’s something about the way Cornell approached the task that incorporated the past and carved a way forward. And while Duran Duran’s “A View to a Kill” is great, all it takes is a few bars to pin down the era it hails from. Adele’s “Skyfall” is a conscious recreation of those early Bond ballads. It helps that “You Don’t Know My Name” feels like it’s from the 2000s without being constricted by a time period. “Casino Royale” needed an reinvention that attracted a newer, fiercer Bond for the post-9/11 age, but one that was still conversant with the iconography of the character. (“The mericless eyes of deceit,” if you will, as Cornell rumbles in the opening.) It’s something that Sam Smith echoed less effectively in his “SPECTRE” song, an attempt to recreate, in song form, the endless tug-of-war between Bond’s personal and professional entanglements. Switching back and forth between octaves, “You Know My Name” is a man effectively in a duet with himself, plumbing the lower, sultry half of the melody (“when you return to the night”) just before hopping up into a full-voiced falsetto (“the game that we have been playing”). The song is also an impressive showcase for Cornell’s four-octave vocal range.

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