“He didn't really come up with any of the basic musical ideas, (but) he heard what we came up with and he put them into an order,” Le Bon said. In Geoff Leonard’s Bond by Barry: The Story of James Bond Music, Simon Le Bon praised the experience of working with the composer. Barry, an Oscar-winning film composer on his 10th of 11 assignments in the world of 007. Broccoli, the bassist got a few drinks in him, approached Broccoli, and asked, “When are you going to get someone decent to do one of your theme songs?” Yes, it sounds like something out of a bad movie, but Taylor’s confirmed the story as being true, and although it wasn’t exactly the most favorable first encounter, it kicked off a discussion which soon led to the band meeting with the aforementioned Mr. Good thing, too, since Taylor was the big reason the band got the gig in the first place: after finding himself at a party with longtime Bond producer Albert R. There’s certain criteria that have to be fulfilled. You want it to be completely state of the art, but it’s always going to have the honking great radiator grill on the front.

But Bond songs have to be big songs, don’t they? They have to have the grandiosity. It was a big deal, and it was a big song. “To see your song up there.I mean, I didn’t like the film, but I’ll tell you, when those titles came up.Maurice Binder was the guy who did all the early James Bond title sequences, and if I wanted to see something to do with the song, rather than watch that horrible video on the Eiffel Tower, I’d take Maurice Binder’s title sequence any day. “We were just so lucky to work with John Barry,” Taylor continued in that interview. Still, as bassist John Taylor said to The A.V.

As it happens, the film’s theme song – cleverly titled “A View to a Kill” – was also a concluding chapter in another fashion: it was the last gasp of the so-called “Fab Five” lineup of Duran Duran, who wouldn’t find their way into a recording studio again for more than a decade and a half, with drummer Roger Taylor and guitarist Andy Taylor exiting the band somewhere between their performance at Live Aid and the recording of their 1986 album, Notorious.

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