"Tomorrow Never Dies" is a song by American singer-songwriter Sheryl Crow that serves as the theme song to the 1997 James Bond film of the same name and its video game adaptation. The song was co-written by Crow and the song's producer Mitchell Froom, and became her fifth UK top-20 hit, peaking at 12 in December 1997. History Another song, "Tomorrow Never Dies", written by the movie's composer David Arnold and performed by k.d. lang, was originally produced as the official theme tune. When Crow's song became the official theme, the k.d. lang song was relegated to the end credits and renamed "Surrender". The melody of "Surrender" still remains in Arnold's score. In addition to lang's song, the James Bond producers solicited tracks from other artists, including Pulp, the Cardigans, Saint Etienne, and Swan Lee. These ultimately were rejected in favour of Crow's song. Reception Critical reception Larry Flick from Billboard wrote, "Crow steps forward with a tune that perfectly fuses her distinctive rock/pop style with the bombastic sound that has become the Bond signature. She wails with appropriate melodrama as an array of fluid guitar riffs and swooping strings and piano lines collide at the song's climax." He added, "It's a wonderfully delicious moment that tops off a stellar, deservedly hit-bound recording." Entertainment Weekly music critic Jim Farber negatively reviewed the song, explaining, "While Crow's music has the right swank and swing, her brittle voice lacks the operatic quality of the best Bond girls and boys, like Shirley Bassey, Tom Jones, or even Melissa Manchester. Tomorrow Never Dies should be for her ears only." (Manchester has never recorded a song for a James Bond film.) Farber called the choice of Crow "the worst hire since A-ha fronted one of these themes." Writing for Filmtracks.com, Christian Clemmensen wished Lang's song had remained, and thought Crow's "beach-bum voice and lazy performance was a disgrace to the film." Pan-European magazine Music & Media wrote that "this is a topnotch song and a classy record. In true Bond style, it could best be described as a mini epic." A reviewer from Music Week gave it four out of five, stating that it "strikes the right cinematic note, relying on the traditional John Barry orchestral cues and kettle drum." NME also complimented the song, saying, "But, believe it or not, this is a low-key beauty and probably the best thing 'Miss' Crow has ever