Uploaded July 2024 | Updated September 2026, 2 weeks ago
New remaster, sourced from the black triangle CD of Wings Greatest.
"Live and Let Die" is the theme song of the 1973 James Bond film of the same name, performed by the British–American rock band Wings. Written by English musician Paul McCartney and his wife Linda McCartney, it reunited McCartney with former Beatles producer George Martin, who produced the song and arranged the orchestra. McCartney was contacted to write the song by the film's producers Harry Saltzman and Albert R. Broccoli before the screenplay was finished. Wings recorded "Live and Let Die" during the sessions for Red Rose Speedway in October 1972 at AIR Studios. It was also the first rock song to open a Bond film. Another version by B. J. Arnau also appears in the film.
Upon release, "Live and Let Die" was the most successful Bond theme up to that point, reaching No. 1 on two of the three major US charts (though it only reached No. 2 on the Billboard Hot 100) and No. 9 on the UK Singles Chart. Wings performed "Live and Let Die" live during their concert tours and McCartney continues to play it on his solo tours, often using pyrotechnics during the instrumental breaks.
Even before Tom Mankiewicz had finished writing the screenplay to Live and Let Die, producers Harry Saltzman and Albert R. Broccoli invited McCartney to write the theme song. McCartney asked to be sent a copy of Ian Fleming's novel. "I read it and thought it was pretty good. That afternoon I wrote the song and went in the next week and did it ... It was a job of work for me in a way because writing a song around a title like that's not the easiest thing going."
Originally, Saltzman was interested in having Shirley Bassey or Thelma Houston perform it instead of Wings. Martin said McCartney would allow the song to be used in the movie only if Wings was able to perform the song in the opening credits. The recording contract specified that McCartney would "perform the title song under the opening titles".
"Live and Let Die" was previewed in the 1973 television special James Paul McCartney, which aired on 16 April in the United States and 10 May in the United Kingdom. In the segment, McCartney and Wings were shown performing the song in his studio, while clips of the film were shown, before the film's US theatrical release on 27 June. In his contemporary review of the single for the NME, Ian MacDonald wrote: "McCartney's fairly reasonable solution to the given problem 'Write, in less than 25 bars, a theme-tune for the new James Bond movie' is to 'Let It Be' for the first half, wailing absently and with a curious notion of grammar, about this 'ever changing world in which we live in', before sitting back to let a 3,000-piece orchestra do a man-in-the-street's impression of John Barry. It's not intrinsically very interesting, but the film will help to sell it and vice versa."
New remaster, sourced from the black triangle CD of Wings Greatest.
"Live and Let Die" is the theme song of the 1973 James Bond film of the same name, performed by the British–American rock band Wings. Written by English musician Paul McCartney and his wife Linda McCartney, it reunited McCartney with former Beatles producer George Martin, who produced the song and arranged the orchestra. McCartney was contacted to write the song by the film's producers Harry Saltzman and Albert R. Broccoli before the screenplay was finished. Wings recorded "Live and Let Die" during the sessions for Red Rose Speedway in October 1972 at AIR Studios. It was also the first rock song to open a Bond film. Another version by B. J. Arnau also appears in the film.
Upon release, "Live and Let Die" was the most successful Bond theme up to that point, reaching No. 1 on two of the three major US charts (though it only reached No. 2 on the Billboard Hot 100) and No. 9 on the UK Singles Chart. Wings performed "Live and Let Die" live during their concert tours and McCartney continues to play it on his solo tours, often using pyrotechnics during the instrumental breaks.
Even before Tom Mankiewicz had finished writing the screenplay to Live and Let Die, producers Harry Saltzman and Albert R. Broccoli invited McCartney to write the theme song. McCartney asked to be sent a copy of Ian Fleming's novel. "I read it and thought it was pretty good. That afternoon I wrote the song and went in the next week and did it ... It was a job of work for me in a way because writing a song around a title like that's not the easiest thing going."
Originally, Saltzman was interested in having Shirley Bassey or Thelma Houston perform it instead of Wings. Martin said McCartney would allow the song to be used in the movie only if Wings was able to perform the song in the opening credits. The recording contract specified that McCartney would "perform the title song under the opening titles".
"Live and Let Die" was previewed in the 1973 television special James Paul McCartney, which aired on 16 April in the United States and 10 May in the United Kingdom. In the segment, McCartney and Wings were shown performing the song in his studio, while clips of the film were shown, before the film's US theatrical release on 27 June. In his contemporary review of the single for the NME, Ian MacDonald wrote: "McCartney's fairly reasonable solution to the given problem 'Write, in less than 25 bars, a theme-tune for the new James Bond movie' is to 'Let It Be' for the first half, wailing absently and with a curious notion of grammar, about this 'ever changing world in which we live in', before sitting back to let a 3,000-piece orchestra do a man-in-the-street's impression of John Barry. It's not intrinsically very interesting, but the film will help to sell it and vice versa."



![The Four Tops - Reach Out Ill Be There (2026 Stereo Mix)
Reach Out Ill Be There (also formatted as Reach Out (Ill Be There)) is a song recorded by the American vocal quartet Four Tops from their fourth studio album, Reach Out (1967). Written and produced by Motowns main production team, Holland–Dozier–Holland, the song is one of the most widely-known Motown hits of the 1960s and is today considered the Four Tops signature song.
It was the number one song on the Rhythm & Blues chart for two weeks and on the Billboard Hot 100 for two weeks, in October 15–22, 1966. The track also reached number one on the UK Singles Chart, becoming Motowns second UK chart-topper after the Supremes 1964 release Baby Love. It reached number one on October 27, 1966, and stayed there for three weeks.
In 1966, Holland, Dozier and Holland were writing new songs for the Four Tops to record for an album. Lamont Dozier said that he wanted to write a journey of emotions with sustained tension, like a bolero. To get this across, I alternated the keys, from a minor, Russian feel in the verse to a major, gospel feel in the chorus. He developed the lyrics with Eddie Holland, aiming for them to sound as though they were being thrown down vocally. Dozier said that they were strongly influenced by Bob Dylan at the time, commenting: We wanted Levi [Stubbs] to shout-sing the lyrics... as a shout-out to Dylan.
For the recording, the writers and producers intentionally put Levi Stubbs at the top of his vocal range, according to Abdul Fakir of the Four Tops, to make sure hed have that cry and hunger and wailing in his voice. Arranger Paul Riser overdubbed instruments including a piccolo and flute in the intro, and a drum pattern made by using timpani mallets on a tambourine head. After the recording was completed and on hearing the final version, the group begged Berry Gordy not to release it; according to Fakir, for us, the song felt a little odd. However, Gordy insisted that it be issued as a single.
Eddie realized that when Levi hit the top of his vocal range, it sounded like someone hurting, so he made him sing right up there. Levi complained, but we knew he loved it. Every time they thought he was at the top, he would reach a little further until you could hear the tears in his voice. The line Just look over your shoulder was something he threw in spontaneously. Levi was creative like that; he could always add something from the heart. The Four Tops - Reach Out Ill Be There (2026 Stereo Mix)](https://i.ytimg.com/vi/i0G_Ks_2-B4/mqdefault.jpg)

![Mary Poppins Soundtrack - Feed the Birds (2023 Remaster)
Feed the Birds is a song written by the Sherman Brothers (Richard M. Sherman & Robert B. Sherman) and featured in the 1964 motion picture Mary Poppins. The song speaks of an old beggar woman (the Bird Woman) who sits on the steps of St Pauls Cathedral, selling bags of breadcrumbs to passers-by for two pence a bag (equivalent to about 13p in 2022) so that they can feed the many pigeons which surround the old woman. The scene is reminiscent of the real-life seed vendors of Trafalgar Square who began selling birdseed to passers-by shortly after its public opening in 1844.
As the Sherman Brothers recall, when Richard Sherman first played and sang Feed the Birds to Pamela Travers (the author of the Mary Poppins books), she thought it was nice but inappropriate for a male voice. Robert Sherman then called in a Disney staff secretary to demonstrate the song again. Upon hearing a woman sing the song, Ms. Travers response was that she thought Greensleeves (traditionally in E minor, the same key as about half of Feed The Birds) was the only truly appropriate song for the soundtrack, as it was quintessentially English. (Ms. Travers had originally wanted the only music in the film to be Edwardian period songs.) Eventually and reluctantly, Travers acquiesced to the American songwriters supplying the films soundtrack.
Robert Sherman recalled:
On Fridays, after work, [Walt Disney would] often invite us into his office and wed talk about things that were going on at the Studio. After a while, hed wander to the north window, look out into the distance and just say, Play it. And Dick would wander over to the piano and play Feed the Birds for him. One time just as Dick was almost finished, under his breath, I heard Walt say, Yep. Thats what its all about.
The song was regarded as one of Walt Disneys favorite songs. Sherman also comments:
Songs have been written about a myriad of subjects. Feed the Birds is the first song written about the merits of giving charity.
Tony Brown related additional Sherman comments about the song and its role in Mary Poppins:
... we seized on one incident, in Chapter 7 of Mary Poppins Comes Back, the second book the bird woman. And we realized that was the metaphor for why Mary came, to teach the children and Mr. Banks the value of charity. So we wrote the song and took it up to Walts office and played it and sang it for him. He leaned back in his chair, looking out the window, and he said: Thats it, isnt it? Thats what this is all about. This is the metaphor for the whole film. And that was the turning point in our lives ... We were full-time staff, so we had an office at the studio, and every so often Walt would call us up to his office on a Friday afternoon. We knew what he wanted. When we got there, he would say, I just wanted to know what you boys were up to these days. Then he would turn around in his chair and stare out the window, like the first time we played it for him, and he would say, Play it. And we would ... And you could just see Walt thinking, Thats what its all about, everything we do at Disney.
Walt Disney World and Richard Shermans son Gregg concurred with Browns account. However, The Bird Woman was chapter 7 in the first book, Mary Poppins, not in the second book, Mary Poppins Comes Back.
The song was sung by the movies star Julie Andrews to visuals of the elderly bird woman of the song. Walt Disney himself made the unusual request that the bird woman, though a non-speaking part (except for one line, stating the first line of the songs chorus) be a cameo by one of his favorite character actresses, Jane Darwell. In her mid-eighties and semi-retired from acting (though she took television episodic guest appearances about once per year), Darwell had recently moved into the Motion Picture Country Home because of her advanced age and feebleness. Needing neither the money nor the screen credit, she declined the role. Walt Disney, still insistent, personally drove to the retirement home to plead with her. Charmed and flattered that she was so wanted, she agreed to take the part. Disney later sent a limousine to bring her to the studio. It was her last screen appearance or acting role; her only spoken line had to be re-recorded later by screenwriter/producer Bill Walsh, as her own voice was too weak.
I believe all CD versions are actually a remix, so this is a remaster of the CD remix. Mary Poppins Soundtrack - Feed the Birds (2023 Remaster)](https://i.ytimg.com/vi/ioOqkI1cw88/mqdefault.jpg)




