Chart Week: August 29, 1981
Song: “For Your Eyes Only” – Sheena Easton
Chart Position: #29, 6th week on the chart. Peaked at #4 for for weeks in October and November.

I’ve heard a glut of 1981 countdowns recently. To be honest, it’s a little much. The quirkiness of that era grates rather quickly upon repeated exposure.

However, I did learn something new and amazing in the process.

On a countdown from earlier in the summer of ’81, a bonus track outside the Top 40 added to the new recording was Sheena Easton’s “For Your Eyes Only.” I didn’t like that song much as a kid; I have no love for it as an adult. I believe I was cooking dinner while listening and focused on my work rather than the music.

When it ended the announcer mentioned that it was, of course, the theme to the James Bond picture of the same name. He also stated that Blondie had recorded a song for the movie with the exact same title.

Wait, WHAT?!?! Blondie recorded something for a 007 flick? How had I never heard that before?

After dinner I raced to the computer and started searching. Turns out, the story was true. The production team behind the twelfth Bond film indeed requested that Blondie perform the title song. They wanted the band to record a piece written by Bill Conti, who composed the picture’s score. I bet you’ll recognize another of his themes.

Blondie thought this was a terrible idea. They wanted to write their own music. So they did. They submitted their recording, but it was promptly rejected. The film’s producers pivoted to the rising Scottish artist Sheena Easton, asking her to interpret Conti’s original effort. The rest is history.

Easton’s track peaked at #4 in the US, #8 in the UK, and was nominated for an Academy Award. The producers liked Easton so much that she became the first, and still only artist to appear performing during the movie’s title sequence. Star Roger Moore said she was sexier than any of the Bond Girls in the film.

Blondie put their version of “For Your Eyes Only” on their 1982 album The Hunter, but never released it as a single. The album received some of the worst reviews of their career, it didn’t sell well, and soon the band split up.

Blondie’s record is interesting. You can hear them trying to connect with the vibe of James Bond, especially in the guitars. And I can 100% envision it as the music played under the title sequence. I sense some common threads to a few of the modern Bond themes that are perfectly fine, but basically serve as background music to the visual playgrounds those scenes have become.

However, it also feels flat, lacking the energy and sex appeal of Blondie’s biggest hits. Their idea of cool didn’t really match Bond’s. It doesn’t sound like a hit to me, even if it had made the soundtrack. Let’s call it a 5 and guess it peaks in the 20’s on AT40 had it been the official theme.

Sheena Easton’s tune, on the other hand, kind of sucks. It’s not her fault. While the film was going for a grittier tone to replace the campy direction the franchise took in the 1970s, this ballad is pure, old people pop. It is overly big and dramatic, and often veers into Cheeseland. I’m not sure why they thought a 22-year-old woman was the right person to sing about a 54-year-old spy. Easton has a nice voice, but it’s not big enough to match what this song asks for. You can hear her straining on its grandest moments. It needed some semi-washed up star of the late Sixties who could belt out those big notes. I can’t imagine Deborah Harry singing it, either. It could not be farther away from what she stood for, or what her voice was capable of.

Conti said he had two other singers in mind when he wrote the piece: Donna Summer and Dusty Springfield. Summer would have been an interesting choice. She certainly had the voice, but I’m not sure she was a good match for the vibe either. Especially since she was still considered the Queen of Disco in 1981. But Dusty Springfield? Yes, yes, a thousand times yes! It would have been a perfect, late-career revival for her. Alas…

The Conti/Sheena track gets a 2.

Most of my research for this post came from a single article, written in 2020. I had to laugh when the writer suggested “For Your Eyes Only” was the highlight of Easton’s career. Keep in mind she hit #1 in the US with “Morning Train (Nine to Five).” And, as my two brothers-in-music John N and Ed L immediately noted, had this guy not heard of “Strut” or “Sugar Walls”?

A highlight? Sure. But THE highlight? I don’t think so.