As 007’s big-screen debut turns 60, we look back at the franchise’s ties to the legendary recording studio Abbey Road.
The first time 007 crossed over with the Beatles rank as one of the rarified times in the undercover agent ’s 60 - class account in which he issue forth off asuncool . In 1964’sGoldfinger , Sean Connerydrops a one - linerthat has aged about as well as the flat champagne he would no doubt reject to drink . “ My dear girl , there are some thing that just are n’t done , such as drinking Dom Perignon ' 53 above the temperature of 38 degrees Fahrenheit , ” smirks Connery to a light-haired bedmate . “ That ’s just as sorry as listen to the Beatles without earmuff ! ”
At the time , this line was intend to reveal 007 ’s mundanity . A worldly , debonair man like himself might put on some nothingness to coiffure the mood , but he’dneverbother with anything as crass as “ I desire to Hold Your Hand . ” But like so many things about James Bond , his preference in music has evolved with the times — to the gunpoint that Paul McCartney was tapped to write and do “ populate and Let drop dead ” less than a decade after Connery slag off the Beatles . Today , James Bond and the Beatles are arguably the two greatest and most imperishable British papa - ethnical export of the 20th century — and the path to both leads straight through Abbey Road .
Though it was found in 1931 as EMI Recording Studios in Greater London ’s City of Westminster , Abbey Road is most associated with the title of one of the Beatles ’ effective record album ( and for inspiring countless tourists to annoy local motorists by pausing in the middle of the route for a photo in an otherwise unassuming sac of northwesterly London ) . The studio was renamed in 1976 to capitalize on its association with the Beatles , who recorded 190 of their 210 songs within its wall and unloosen theirAbbey Roadin 1969 , but its alumnus lean also includes Pink Floyd , Kate Bush , Radiohead , and multitude of other top artists .
Bowers & Wilkins
But for all the iconic groups that have repose down track in Abbey Road ’s Studio Two , which is renowned for its ever - expanding role in rock history , the list of photographic film slews immortalize at Studio One — a blank declamatory enough to fit a full orchestra — might be even more telling . It ’s there that Abbey Road ’s history with the Bond franchise ends up cutting deeper than you might expect . Since 1988 , the famed transcription studio apartment has been fit out with speaker unit from Bowers & Wilkins , a famed British sound recording party whose founding father could have been a contemporaneous and colleague of 007 himself .
John Bowers , the companionship ’s eponymous founder , was just 17 when he joined the Royal Corps of Signals at the attack of World War II . Already intrigue by radio , he was recruited by MI6 , the same organization that James Bond himself describe to in the 20 - odd times he ’s relieve the world . As a existent - life MI6 operative , Bowers maintained clandestine radio contact with both British factor and resistance hero across Europe . He also foregather Roy Wilkins , a fellow who quickly became a friend , and the duo agreed that they ’d go into byplay together after they ’d bring home the bacon the war .
lay up a modest workshop in Bowers ’ hometown of Worthing , England , Bowers supplemented the primary concern of marketing , renting , and repairing radios for fellow partizan with a sideline in manufacturing his own speakers . arbour , a classical music lover , was frustrated that no loudspeaker could simulate the touch sensation of attending a springy performance , and his tinkering aimed to make heed to a recording as close as possible to in reality being in the way with the musicians . By the time Bowers ’ obsession with get hold newfangled ways to building a better speaker became the company’sactualfuture , the sixties were nearing their end , with Sean Connery handing over his tuxedo and Walther PPK to George Lazenby for 1969’sOn Her Majesty ’s Secret Service(and then quick taking it back for 1971’sDiamonds Are Forever ) .
Bowers & Wilkins
It was nearly two decades later — and two Bond actors later — when Abbey Road formally adopted Bowers & Wilkins ’ Matrix 801 speaker system as the reference speaker used in its recording studio . Those speakers had been the resolution of four age of inquiry , and were designed by engineers explicitly encourage to do everything they could opine of to make the best possible loudspeakers in the populace , without vexation about previous pattern or toll . Shortly after , in the 1980s , Abbey Road ’s famed Studio One , the earthly concern ’s large role - built transcription infinite , became the gold standard for record large picture soundtracks , welcoming movie franchise includingStar Wars , Lord of the Rings , andHarry Potter .
devote the full system of weights of history , there was something especially potent about Abbey Road playing legion to Adele and a 77 - musical composition orchestra forthe claim theme of 2012’sSkyfall — an inst classic , a strain that made Daniel Craig cry , and the first Bond theme to win an Academy Award . ( Sam Smith also dropped in to Abbey Road to record parts of“Writing ’s on the Wall,”the Oscar - bring home the bacon stem he co - pen with Jimmy Napes for the 2015 Bond movieSpectre . )
“ Skyfall , ” along with the iconic “ James Bond motif ” and Shirley Bassey ’s immortal “ Goldfinger , ” were repeat by the Royal Philharmonic Orchestra at a recent case held at Abbey Road to lionise Bowers & Wilkins ’ latest crossing over with the Bond franchise , includinga special set of headphonesmade to check the midnight gloomy tuxedo Sean Connery wore inDr . No . At Abbey Road , 150 attendees were ask for to do their best Bond impression by render up in evening gowns or tuxedo . ( No one was audacious enough to hear to attract off Daniel Craig’sCasino Royaleswim trunks . )
Bowers & Wilkins
Still : For one evening , Bollinger champagne was pop and Vesper martinis were poured in Abbey Road ’s Studio Two , just across the hall from where Adele recorded “ Skyfall . ” walk through the antechamber of the building feels like an familiar tour of late Hollywood story — and not just because the walls are lined with signed posters bearing gushing handwritten messages from film producer and genius .
But the studio , and their dominance rooms , hold a different kind of weightiness : The chronicle of so much genuinely iconic work , now heard on radios and in movie theaters across the existence , but first do and heard here in these room , which are heavy but somehow intimate . It ’s fitting that the Royal Philharmonic Orchestra also latterly commemorated the dealership ’s 60th anniversary by immortalize new arrangements of all 25 James Bond theme songs at Abbey Road — an thorough tributeto the full story of 007 , and a franchise built around euphony that has managed to be both of - the - second and timeless .
“ The Bond theme has been in our lives for as long as we can remember,”saidSkyfalldirector Sam Mendes earlier this year . “ You know , you ’re in the uterus … what do you hear ? The instant and the Bond root . ” address the crowd get together to celebrate 007 at Abbey Road in November , David Arnold — the composer behind five Bond motion-picture show , including the franchise - relaunchingCasino Royale — noted that no one in the room was likely old enough to remember a timebeforeJames Bond was a global icon . Watching a video that pay tribute to the serial ’ story , include his theatrical role in it , made Arnold “ weirdly emotional , ” he said . “ It still feel like an enormous honor . ”
“ Why did I start spell music ? Because when I was eight years sure-enough , I sawYou Only Live Twice , ” said Arnold . “ I wanted to be a part of the thing that made this noise . To make you experience the way of life I felt . ” And remain firm there in Abbey Road , it was hard to imagine feel any different .
