You know the name. You know the number. You know the obnoxiously catchy title songs played over sexually charged credits sequences. Next to the “James Bond Theme” by Monty Norman, the title songs are the most well-known and (sometimes) loved musical aspect of the 007 series (see our ranking here). But the credits haven’t been the only occasion for singers and songwriters to work with James Bond. End credits need music too, as do montages. And sometimes the films call for diegetic music that offers up an opportunity to plug a record.

Whatever need they serve, there’s been many and varied non-title James Bond songs since 1962. Here are our picks for the top ten:

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10. Where Has Everybody Gone? (The Living Daylights)

The archetypal James Bond sound is closely tied into the zeitgeist of the 60s, but when the 80s came around, the series leaned into the decade hard with its song choices. Title songs like “A View to a Kill” and “The Living Daylights” put that vibe into their respective films from the get-go, but The Living Daylights went even deeper into the 80s with two additional songs, both by The Pretenders. “If There Was a Man” was written for the end credits and is as sappy and unmemorable as many such tunes. “Where Has Everybody Gone,” on the other hand, serves as diegetic music in the film: henchman Necros (Andreas Wisniewski) listens to it on the headphones he uses as a murder weapon. The song is more 80s than a mullet, but it has a nice groove to it.

9. Do You Know How Christmas Trees Are Grown? (On Her Majesty’s Secret Service)

Bet you didn’t know James Bond had a Christmas song! A good portion of On Her Majesty’s Secret Service is set around the Christmas season, and Bond is forced to flee into a yuletide festival from Blofeld’s henchmen near the halfway point of the story. Longtime Bond film composer John Barry collaborated with lyricist Hal David and Danish vocalist Nina to write an original carol for the sequence. “Do You Know How Christmas Trees Are Grown?” is a well-meaning but rather unsettling tune that dwells on the fact that Christmas trees can die and the limits of Santa Claus’s magic. Given that, it’s not a surprise it failed to become a holiday standard. But it is memorable, contributes to the suspense of the scene, and I have it on my Christmas playlist.

8. Surrender (Tomorrow Never Dies)

No, it’s not a cover of that Elvis standard with a proto-Bondian flavor to it. This tune is the work of composer Don Arnold, David McAlmont, lyricist Don Black, and singer k.d. lang. Arnold’s work for the series can at times feel like a “greatest hits” collection of musical ideas and arrangements from Barry’s work with some techno laid underneath, and “Surrender” is no exception. But there’s nothing wrong with a “greatest hits” vibe every now and again, and this song is a stronger dose of classic Bond than you’ll get from any musical threads in the Daniel Craig era. It was originally marked down as the title song, but a last-minute decision to go with Sheryl Crow and a different tune relegated this number to a new title and the end credits.

7. Three Blind Mice/Kingston Calypso (Dr. No)

I’m cheating a bit with this one, because “Kingston Calypso” technically is a James Bond title song. After the John Barry Orchestra’s electrifying performance of the “James Bond Theme” and some wild dance music take us through most of the credits for Dr. No, the music segues into this number by Monty Norman, performed by Bryon Lee and the Dragonaires. Ian Fleming once described his James Bond novels as “fairy tales for adults,” so perhaps it’s fitting that the first song heard in a Bond film twists a nursery rhyme to foreshadow the subterfuge used by the titular doctor’s henchmen in dispatching Jamaica’s MI6 station.

6. The Look of Love (Casino Royale ’67)

Yeah, yeah – the 1967 Casino Royale isn’t an “official” Bond movie. It’s not even a proper adaptation of Fleming’s novel. It’s a bloated, production-plagued spoof that’s short on quality comedy. But if the movie isn’t funny, it is still a lot of fun – in a trainwreck sort of way, admittedly. Even with that caveat, it can claim some genuinely great designs and greater music to its credit. “The Look of Love” is used in the film for a love scene between Peter Sellers and Ursula Andress, but it’s a stirring romantic melody all on its own. Decades later, a chance listen to the song helped inspire Mike Myers to create Austin Powers: International Man of Mystery.

5. Wedding Party (Licence to Kill)

Unfortunately for songwriters and performers, many songs meant as diegetic music aren’t heard in full during the course of the film. “Wedding Party” by Ivory suffers that fate in Licence to Kill, the second and last Bond outing for Timothy Dalton. Licence to Kill struggled with viewers in 1989 who found it too dark and grim, a laughable charge now that we have Craig’s movies to compare it to. I’d sooner fault Licence for pedestrian visuals and a contrived ending. But the opening wedding of Bond’s longtime friend Felix Leiter (David Hedison) is a fun scene, and “Wedding Party” does its bit to help make it so. In melody and lyrics, it pays homage to the next entry on this list…

4. Jump Up! (Dr. No)

Another diegetic piece, and another collaboration between Norman and the Dragonaires, who appear in Dr. No as the band playing the song. “Jump Up!” was inspired by a dance Norman observed at clubs around Jamaica during filming. You would never associate it with James Bond if you heard it in isolation now, but that wasn’t the case in 1962. It became the first hit song from the series, particularly in the Caribbean, and it was a major break for the Dragonaires. Clubs have never been my thing, but on the rare occasions I’ve been taken to one, this is the kind of music I wish they played.

3. Mr. Kiss Kiss Bang Bang (Thunderball)

The path to a title song for a Bond film isn’t always smooth sailing, and there can be many discards along the way. Thunderball cycled through an effort by Johnny Cash (great for opening a Western, less appropriate for a British spy) and two different stabs at “Mr. Kiss Kiss Bang Bang” before a last-second change gave us Tom Jones and “Thunderball.” The change came so late that you’ll hear “Mr. Kiss Kiss” woven throughout the instrumental score on the finished film. The song’s cooky name allegedly came from an Italian journalist, and the lyrics are an apt summary of Bond’s character as played by Sean Connery. Frankly, I think it’s a better number than the one they went with for the film. But rushed music changes and legal to-dos kept it buried until the 1990s.

2. Under the Mango Tree (Dr. No)

It may seem that I’m biased toward Dr. No, but it just happens to have several non-title songs to choose from. Ursula Andress first sings “Under the Mango Tree” while her character, Honey Ryder, collects seashells. Connery’s Bond briefly turns it into a duet at the sight of her. Producer Harry Saltzman allegedly wanted the recording by Diana Coupland as the title song for Dr. No before the “James Bond Theme” was composed and wiser heads prevailed. But if “Under the Mango Tree” wasn’t suited to open the first Bond adventure, it does make a soothing romantic melody that complements the Caribbean setting. Eon Productions is fond of using this track on their documentaries too. Possibly the most touching application of it I’ve seen was as a closing piece for a documentary on Ian Fleming included on The Living Daylights DVD.

1. We Have All the Time in the World (On Her Majesty’s Secret Service)

The instrumental track used for the titles of On Her Majesty’s Secret Service is among the most fun pieces of music in the series, but “We Have All the Time in the World” is the most emotional. The song itself, sung by Louis Armstrong in one of his last recordings before his death, is used for a montage of Bond’s courtship of Tracy di Vicenzo (Diana Rigg, and Bond now played by George Lazenby). John Barry chose Armstrong to inject a sense of irony into the ostensibly happy lyrics. But the music itself has a quality that suggests the tragedy to come, and when used as an instrumental track under key moments of Bond and Tracy’s relationship, it keeps things from feeling too safe or saccharine. It’s another track Eon loves to use in their behind-the-scenes videos, and it was even pressed into service in No Time To Die to accompany a far less successful attempt to give Bond a true, tragic love. If you want to see the song used to its greatest effect (and to see the best Bond film to date), stick to Majesty’s.