Kiss Kiss Bang Bang continues its mission to unpack the James Bond musical canon with 1963's From Russia with Love — the film that gave us the very first Bond theme song.

Tom and Morgan dive into Sean Connery's second outing as 007, a Cold War thriller packed with franchise firsts: the pre-title sequence, Blofeld, Desmond Llewelyn's Q, and the promise that "James Bond will return". But famously, this is a music podcast — so we're here for John Barry's first full Bond score, the debut of the percussive '007' theme, and Lionel Bart's title song, sung magnificently by "the Man with the Golden Voice" himself, Matt Monro.

Along the way: why Frank Sinatra (allegedly) turned the song down, the mystery of the lost soundtrack recordings, the astonishing link between John Barry and Linkin Park's 'Faint', and whether a beautiful love song that predates the Goldfinger template can truly rank among the great Bond themes.

Shoot 'em up, bang bang! Tom and Morgan unlock 'Another Way to Die', Jack White and Alicia Keys' theme for Quantum of Solace (2008) – and the only duet in James Bond theme history.

We dig into the film's troubled production during the Writers Guild strike, Daniel Craig's second outing as 007, and why this direct sequel to Casino Royale left so many fans underwhelmed. Then it's on to the song: David Arnold's fifth Bond score, the Nashville sessions with the Memphis Horns, the Amy Winehouse and Mark Ronson theme that never was, Duffy and Leona Lewis rumours, Adam and Joe's parody songs, and the big question – should Alicia Keys have sung it alone?

Morgan and Tom load the golden bullet and take on 'The Man with the Golden Gun', Lulu's much-maligned theme to the 1974 film — and end up mounting a spirited defence of it.

We set the scene on Roger Moore's second outing as 007, Christopher Lee's superb Scaramanga and a film often pegged as bottom-tier Bond, before turning to the music: John Barry's return after a film away, lyricist Don Black, and Barry's own brutal verdict on a song he hated. We dig into the unique end-credits version that actually names James Bond, the theme's unwanted record as the only Bond title track never to chart, Alice Cooper's rejected version that arrived "a day too late", and a slice of exclusive content as Morgan plays a clip of Lulu herself looking back on the song.

So is it really the worst Bond theme, or a short, sharp, underrated bit of fun? You decide.