22. 'You Know My Name' - Chris Cornell (Casino Royale, 2006): After his work with Soundgarden and Audioslave, this probably remains Cornell's most famous solo output. As the first theme song of the Daniel Craig era, it attempted to introduce and reflect his Bond's grittier persona. Less than a decade on though, and the song, in all its glam-rock glory, already sounds a little dated.

10. 'We Have All The Time In The World' - Louis Armstrong (On Her Majesty's Secret Service, 1969): This is, in fact, the secondary theme for OHMSS, the main theme being John Barry's instrumental. Its title is taken from James Bond's final words in both the novel and the film, and Armstrong, who at this point was too ill to even play his trumpet, injects a poignant sense of irony into the lyrics.

9. 'GoldenEye' - Tina Turner (GoldenEye, 1995): It's refreshing to have a Bond theme that's not a sycophantic ode to the brilliance of James Bond. He is, after all, a bit of a terrible human being. To hear Tina Turner pour every ounce of her soul into the line, "You'll never know how it feels to be the one / Who's left behind" is deeply affecting.

8. 'The Living Daylights' - A-ha (The Living Daylights, 1987): To the Bond theme purists, this new wave anthem will have taken some getting used to, but it's got a certain '80s disco charm.

7. 'Diamonds Are Forever' - Shirley Bassey (Diamonds Are Forever, 1971): Seven years after she triumphed with 'Goldfinger', Shirley Bassey proved that lightning can strike twice in one place. The refrain harbours a sort of resigned pessisism, but the bridge - "I don't need love / For what good will love do me? / Diamonds never lie to me" - is dripping with angry defiance.

6. 'The World Is Not Enough - Garbage (The World Is Not Enough, 1999): David Arnold, who wrote this song (as well as many of the series' scores and themes), wanted to marry the classic Bond sound with elements of electronica. The result, which also houses shades of trip hop and the alt-rock stylings brought to the table by Garbage, is an absolute triumph.

5. 'Nobody Does It Better' - Carly Simon (The Spy Who Loved Me, 1977): A more straight-forward ballad than most of its predecessors, and with more vulnerability and sentimentality too. When Carly Simon sings, "I wasn't looking / But somehow you found me", it's anyone's guess as to whether this is a good thing or not.

4. 'You Only Live Twice - Nancy Sinatra (You Only Live Twice, 1967): It was a brave but wise decision to follow two huge-voiced behemoths (Shirley Bassey and Tom Jones) with Nancy Sinatra's more restrained, deep and sultry vocals. The electric guitar riff is the only thing that doesn't sound as smooth as honey, and John Barry's lyrics are simple but other-worldly.

3. 'Skyfall' - Adele (Skyfall, 2012): If anyone knows how to build a suspenseful ballad, it's Adele. Drawing from the classic Bond chord progression for the song's basis, the melody lurks forebodingly in the verse, before bursting into a chorus so simultaneously triumphant and devastating that it makes you want to punch your fist in the air while quietly weeping. It's everything 'Tomorrow Never Dies' didn't quite manage to be.

2. 'Live And Let Die' - Paul McCartney & Wings (Live And Let Die, 1973): Paul and Linda McCartney sure knows how to write a melody that builds up to something epic. What begins as a falsetto-filled power ballad is soon injected with orchestral bursts, an urgent, vaguely sinister instrumental and then - in a dramatic left turn - a sort of syncopated, funk-fuelled pop song. It's like ten songs in one - and every single one of them is brilliant.

11. 'Another Way To Die' - Jack White & Alicia Keys (Quantum Of Solace, 2008): As the first ever Bond theme duet, 'Another Way To Die' paired the R&B soul of Keys with the scuzzy rock of Jack White to great effect.

12. 'License To Kill' - Gladys Knight (License To Kill, 1989): "Please don't bet that you'll ever escape me," sings Gladys Knight in her husky, alto voice, "once I set my sights on you" - and you don't doubt her for a minute. There's not quite the killer hook that elevates some of Bond's more classic themes, but it's a convincing power ballad."

21. 'Die Another Day' - Madonna (Die Another Day, 2002): "Sigmund Freud, analyse this," whispers Madonna partway through the song. We don't know how Freud woud have managed - but we certainly can't. It's an electroclash jumble of autotuned club pop, and is about as far from the classic Bond themes as you could possibly get. One suspects, though, that this is exactly as Madonna intended it.

20. 'Thunderball' - Tom Jones (Thunderball, 1965): With his rich baritone vocals, Tom Jones was one of the few singers who could follow Shirley Bassey. He does an impressive, charismatic job, but the melody just doesn't stick in the mind, and the lyrics - "Any woman he wants, he'll get" - a little wince-inducing.

19. 'The Man With The Golden Gun' - Lulu (The Man With The Golden Gun, 1974): The melody is infectious, and Lulu's recognisably gravelly vocals fit like a glove (especially when she goes full diva in the vibrato-filled bridge) but there's something about it that verges a little too close to self-parody for comfort. The opening line, "He has a powerful weapon", probably single-handedly gifted Mike Meyers with the inspiration for his Bond-parody Austin Powers.