Timothy Dalton came onto the scene with The Living Daylights, and the world was promised a more faithful Bond. This not only applied to the thematic material, but also the lady chasing quotient as James is fixated on a young cellist wrapped up in a political puzzle box that threatens all out war. (Seldom ever was a Bond villain content with just wrecking havoc in their own backyard.) This was seen as the proper approach to strike the balance with Roger Moores cavalier womanizer, who managed to make a hobby of killing baddies. That balance was carried over in a-has titular hit that pledged more danger and paranoia, and less rosy stain.Interestingly enough, this was John Barrys final Bond title song, as he was fed up with working around acts like A-ha when it came to his music. It would take a while, but the series would eventually manage to regain its musical gusto.