With the overdue annointing of a new James Bond coming any day/week/month or year now, those hunting for a 007 fix can be excused for tapping their watches and glowering at MGM/Amazon, which will be producing and releasing it. Eventually.

But that’s reason enough to watch and listen to the vicarious thrills provided by the iconic music of the 60+ year-old series.

For years, I’d keep the James Bonds’ Greatest Hits CD in my car for road trips. And over the decades, I’ve chatted up everybody from Shirley Bassey, Rita Coolidge, Simon LeBon, Sheena Easton to composer Marvin Hamlisch (“Nobody Does it Better”), and Bonds Roger Moore, Pierce Brosnan and and producer Barbara Broccoli about the music that became, early on, a signature of the British spy thrillers.

“The Sound of 007” is the one documentary that rounds most of them and many others up to talk about the happy accidents and inspired choices that created and recreated assorted Bond themes and the ways rock stars and pop singers craved the chance to make a musical statement in the movies.

Here’s Michael Caine recalling a ’60s stretch where he roomed with the most important Bond composer, John Barry, and got to hear the signature musical themes of the series before anybody else.

U-2 punched-out a rough draft of “Goldeneye,” insisted Tina Turner was the only one who could sing it, and it became one of many picks for “the most underrated” title tunes. George Martin produced Paul McCartney’s “Live and Let Die,” brought the tape to the tin-eared co-producer Harry Saltzman, not a “rock” fan, who kept asking “Who should we get to SING it? What do you think of Thelma Houston?”

Simon LeBon and John Taylor of Duran Duran relish getting the call to do “A View to a Kill,” the best New Wave Bond theme. Because if they’d been asked to do “Quatum of Solace” “nothing RHYMES with ‘Solace’…except for BOLLOCKS,” LeBon cracks.

Radiohead wanted to do one in the worst way, and Daniel Craig — a fan — was down with that. They did two tunes, one recorded before the request that they pitch a song for the then-upcoming film, another downbeat one that didn’t come in soon enough.

Amy Winehouse took a meeting with Barbara Broccoli and others and was interested, but too broken and broken hearted to come to terms with the assignment.

Hamlisch and McCartney revel in how quickly they whipped up their instant classics.

And Bond villain Rami Malek complains that Queen never got to do a Bond tune. Of course.

We see and hear legendary film and TV composer Hans Zimmer in the recording studio, working out ways to incorporate the Bond themes and the hummed and sung melody of the title tune of “No Time to Die” by Billie Eilish into the score.

Not every song or every film is covered. But the singular Shirley Bassey is here to remind us of the theatricality of her singing (and live performances) of “Goldfinger,” the song that set the Bond title tune standard, and others sing the praises of her under-rated and slinky “Diamonds are Forever” turn.

Sheena Easton, Jack White, Nancy Sinatra and Tom Jones talk about the prestige of being offered such a chance, and Jones remembers hitting and holding “THUNDER-Baaaaaaaaaaaal” so long he almost passed out at the mike.

It’s all good and informative fun — breaking down the Indian, Caribbean and Middle Eastern rhythms, the origins of Monty Norman and Barry’s contributions and the importance of horns in the best, “Rule Brittannia” “Swinging ’60s” tunes, which made those films time capsules and yet timeless.

And as we’re not getting a new Bond or Bond film any time soon, clips of great scenes and the great tunes of “The Sounds of 007” will have to do, for now.

Rating: TV-14, nudity, some profanity

Cast: Shirley Bassey, Sheena Easton, Jack White, Barbara Broccoli, Billie Eilish, John Barry, Naomie Harris, Nancy Sinatra, Sam Mendes, Hans Zimmer, Thomas Newman, Michael Caine, Rami Malek, Marc Forster, Cary Joji Fukanaga Lulu, Paul McCartney and Daniel Craig.

Credits: Directed by Mat Whitecross. An MGM release on Amazon Prime.

Running time: 1:28