Parr and David Foster originally wrote this anthem about getting older and facing hardship for paralyzed athlete Rick Hansen, who circled the world in a wheelchair on what was called the Man in Motion Tour. The single spent two weeks at No. 1 following the success of the Brat Pack film. Listen here.
The last song penned for the film, Prince wrote this Purple Rain track overnight to match a scene in the movie. On top of that, he played played every instrument on the recording, which became the first and biggest single from an incredible soundtrack. Listen here.
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AFI's 100 Years...100 Songs is a list of the top 100 songs in American cinema of the 20th century. The list was unveiled by the American Film Institute on June 22, 2004, in a CBS television special hosted by John Travolta, who appeared in two films honored by the list, Saturday Night Fever and Grease. The list was created by a panel of jurors selected by AFI, who voted from a list of 400 nominated songs.[1]
Singin' in the Rain, The Sound of Music, and West Side Story each have three songs on the list,[2] whileThe Wizard of Oz, A Star Is Born (#11 & #16) from the 1954 and 1976 film versions, Funny Girl, and Meet Me in St. Louis each have two entries.
Judy Garland (also listed in first place for "Over the Rainbow") and Gene Kelly are tied with five songs each; all of Garland's songs and two of Kelly's are solos. Julie Andrews, Fred Astaire, Marni Nixon, and Barbra Streisand follow Garland and Kelly with four songs each. All of the songs performed by Astaire and Streisand are ranked within the top half of the list. Astaire was co-credited for three out of his four songs listed, while Streisand performed all four of her songs by herself.
The theme song for Octopussy was always going to have one job and one job only: Distract viewers from the fact that they're about to watch a film called Octopussy. By those standards, "All Time High" is considered something of a success. Not the smuttiest Bond theme ever recorded, the track cut for Bond's 1983 adventure feels about as dangerous as a trip to the grocery store or an FM radio-show dedication. Rita Coolidge's smooth jazz ditty just sort of sits there, knowing full well that it would be a lot more awkward to watch guns ejaculate silhouettes of women in silence.
If there's one dirty secret that unites all Bond themes from the Nineties, it's that the songs ache to have been performed by Bjrk. That said, Garbage frontwoman Shirley Manson is a perfectly decent substitute for the Icelandic swanstress, and the silky cognac of a song she had to work with is a strong fit for her tone. Co-written by the hit-or-miss Don Black, who had a hand in formative Bond themes like "Thunderball," the last 007 tune before the turn of the millennium roared with more drama than anything in the film to which it was attached. The verses are wishy-washy, but that chorus is a killer earworm, with Manson's elastic voice pulling the rest of her body into each note by sheer force of will.
There are no two ways about it: Shirley Bassey is the voice of the Bond themes, and even her weakest contribution ranks among the series' most essential tracks. Stepping in for a frustrated Johnny Mathis mere weeks before the film was due for release, the chanteuse reminded the world that she was one of the only Earthlings who could croon a nonsense word like "Moonraker" and make it sound downright glorious. Listen, you try taking a mess of typically distressed Bond lyrics ("Where are you? When will we meet? Take my unfinished life and make it complete") and imbuing them with sense of life or death. Not so easy, is it?
And now for something completely different. The first entry shot after Sean Connery relinquished the role, 1969's On Her Majesty's Secret Service was also the first Bond film since From Russia With Love to use an instrumental theme. Layering a safe but deliciously brassy melody over a Moog bass line that was a few years ahead of its time, John Barry's reassuring composition helped 007 make the daunting leap from successful series to a bona fide franchise that could exist independent of a single star. Still, it's hard not to wonder what might have happened if the composer had been granted the permission he sought to write the operatic Gilbert and Sullivan-style jam the film's title so clearly demands.
Tom Jones! We can't hold it against him that his silky croon now sounds like the stuff of parody, or that Jones and John Barry were forced to rush something out the door after United Artists made a last-minute request that the theme song contain the film's title. Fortunately for them, pretty much every other word in the English language rhymes with "Thunderball." The squelching horn melody may be a little (or a lot) derivative of the music from the first three Bond films, but that Welsh baritone spin on Shirley Bassey's shtick made it sound brand new, and the way he nearly asphyxiates on that final note is a perfect flourish for a spy adventure that sets most of its action underwater.
This contribution explores the role of Hindi film songs in the Mawlid in northern Ghana, where Tijani Muslims combine Islamic texts with Hindi film song melodies to celebrate the birth of the Prophet Muhammad. It explores how and why Hindi film songs are used in the Mawlid performance each year.
The Top 50 will feature in a special countdown show, hosted by OJ Borg. The show will air later today from 2-5pm on BBC Radio 2. The listener vote was launched in July to mark an amazing 50 years of classic, feel-good, animated movie songs.
A film's soundtrack is one of the most important parts of the movie-going experience, whether we realize it or not as we're watching. The right music helps set the scene, sparking emotions from the viewer, even telling a story all on its own, elevating our experience and bringing us into the world being shown before us.
But some songs, whether specifically made for the movie or just perfectly added to an integral scene, seem to transcend the films they were featured in. Others become inextricably linked to their films, becoming a part of pop culture history for generations to come.
If you have kids, know kids, or have ever met a kid, you've definitely sung along to "Happy," which was first featured on Williams' album "Girl" before becoming a massive global hit thanks to a feature spot on the animated film's soundtrack.
It takes a rare film and song to define an entire era, but "Stayin' Alive," which served as the iconic opening scene to the 1977 coming of age tale starring John Travolta did just that, becoming one of the most classic disco songs of all time.
The film's soundtrack featured a slew of hits by the group of brothers and other disco acts, but "Stayin' Alive" is the one that inspired a generation to strut down the street in their best disco duds.
The American Film Institute ranked Garland's wistful ballad as the greatest movie song of all time, and with good reason: Since Garland's wide-eyed, hopeful Dorothy donned those ruby red slippers back in 1939, the song, her character, and the film have cemented their status in film and music history, beloved by fans around the world across generations.
Few things tug at our heartstrings the way stories about childhood friends growing apart could, but Midler's cover of a country song by Roger Whittaker song absolutely seals the deal, somehow bringing us to tears decades after the film's release.
The final scene of John Hughes' "The Breakfast Club" is one of the most iconic of all time, and it's surely thanks to the powerful pop anthem by Simple Minds. The film would go on to become one of the most famous high school coming-of-age movies ever, and we'll forever raise a fist defiantly to shattering the stereotypes held against us, long after our high school days are (thankfully) behind us.
The song plays at the film's pinnacle moment when nerdy art student Laney Boggs walks down the stairs after getting her makeover of a haircut and contact lenses, and while the premise is as cheesy as they come, the song represents all the best parts of teenage romance.
Often considered one of the greatest musicals of all time, "Singin' in the Rain's" signature song makes even the biggest pessimist want to splash around in a rainstorm, becoming one of the happiest movie songs of all time.
As one of the biggest icons in film and fashion, Hepburn's wistful, romantic song for one of her most beloved movies has become so famous that music legends from Aretha Franklin to Elton John have all put their own spin on it over the decades.
There are so many iconic songs from Disney films that are more than deserving of their own article, but we had to highlight a few important favorites. "When You Wish Upon a Star" was ranked seventh by the American Film Institute in their 100 Greatest Songs in Film History, coming in as the highest ranked song from an animated Disney film, and it'll bring chills to even the frostiest of film critics.
More than three decades after Patrick Swayze gracefully lifted Jennifer Beals in the epic "Dirty Dancing" finale, the song and its film have had a lasting impact on audiences, who are well aware that nobody puts Baby in a corner.
With Elton John and Tim Rice at the helm, it's no surprise why "The Lion King" has become the best-selling soundtrack to an animated film ever in the United States. We couldn't pick just one song from such a sweeping soundtrack, so we picked our top two, giving an additional shout out to John's "Circle of Life" as well.
Rap songs rarely get the accolades they deserve, especially in film, but Coolio's 1995 hit for the Michelle Pfeiffer drama "Dangerous Minds" earned the rapper one of his biggest hits ever, a well-deserved feat given how perfectly the song works with the movie, serving as a stark reminder about how far we still have to go when it comes to racial equality in the US. be457b7860
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