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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This is something easily forgotten but your wedding location can be a big arrow toward what song feels right to your video. Was it an intimate setting or something more grand? Was it somewhere adventurous like a national park or something familiar like a family back yard? Was it a beautiful spring day or a snowy winter wonderland? While there are songs that literally mention locations, I like to simply get the idea of it instead and be a bit more subtle.
Originally the film producers wanted a period appropriate song with lutes and lyres. When they heard the finished product they panicked and hid it away at the halfway point of the closing credits, not realising what a worldwide smash they had on their hands.
Neither song won that night. It was You Must Love Me, a new track from the film version of Evita that went home victorious. Personally, my hopes were pinned on The Wonders with That Thing You Do!
Here I Am was recorded twice: an orchestral version for a specific scene in the film and another more pop oriented take for the end credits. This version also became a successful single and is easily my favorite song on this entire list.
Adams wrote (again with Gretchen Peters and Eliot Kennedy who contributed to one of the songs in Spirit) and performed five songs for the film. The soundtrack CD has since been deleted and has become something of a holy grail for Bryan Adams fans.
The film industry was up in arms, of course. Filmfare magazine characterized Keskar as a devious man whose decision was a calculated blow at the reputation of the Indian film industry, as much as one aimed at ousting film music from the market" (August 1952 issue). In response, film producers who owned the rights to the songs decided to rescind the broadcast licences given to AIR. And, as Keskar anticipated, film music completely disappeared from radio within a mere three months. The void was filled by AIR broadcasting classical music.
Taylor Swift: The Eras Tour made history during its theatrical run, which started in October 2023. The movie made a quarter of a billion dollars globally, making it the highest-grossing concert film of all time.
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.
Watch this video on YouTubeClick to load videoTo Sir With Love (To Sir With Love, 1967)Sidney Poitier was the main star of a worthy school-based film in which a teacher wins over some inner-city toughs in East London. Lulu, who starred in the film, had a surprise No.1 US hit with the title song. It was co-written by Don Black, a songwriter who had worked on lots of James Bond themes and was a frequent collaborator with John Barry, the soundtrack legend. They both later worked on the music for Out Of Africa.
A country song that had been kicking around for a few years, in versions by writer Ed Bruce and then Chris LeDoux, gained widespread attention and acclaim when Willie Nelson sang it for the Robert Redford-Jane Fonda film about a rebellious cowboy. The song was later used in the 2008 Oliver Stone film W and referenced ironically in the 2016 film American Honey.
The movie Hook is now a family favorite, in spite of weak reviews when it came out in 1991. Originally intended as a musical, the film's demo songs are now available in a new recording. AJ Pics/Alamy hide caption
Starring Robin Williams as a grownup Peter Pan who has forgotten his past, the film, for its fans, is hilarious and heartwarming, a technicolored flight of fancy about imagination and reconnecting with an inner child.
For that, he turned to his faithful composer, John Williams. Over two decades and nearly a dozen films, Williams already helped Spielberg make some of the most unforgettable soundtracks in Hollywood, from the Indiana Jones movies to E.T. But Williams needed a lyricist, and who better than the guy who wrote the songs for 1971's Willy Wonka and the Chocolate Factory? Leslie Bricusse, a British lyricist and composer in his own right, was an old friend and collaborator with Williams. Starting in the 1960s, they wrote several title songs for now-forgotten films. Prior to Hook, Bricusse had set words to Williams' classic love theme from Superman and two original Christmas carols in Home Alone.
To most critics, the lack of musical numbers made no difference; the film was bad. Newsweek's David Ansen summed up the consensus among critics when he called it "a huge party cake of a movie with too much frosting."
"Even without the songs being sung," Matessino explains, "the score has a 'lyrical' quality. You don't really get themes in a film score that have what we call bridges in a song, sort of a center section. And that's a clue right there that a lot of these themes began life with the intention of having lyrics set to them."
So even though most of the songs in Hook walked the plank, their tunes took flight as one of Williams' best, and most songlike, scores. And now the final collaboration between John Williams and Leslie Bricusse can finally fly. And even crow.
Whether by coincidence or necessity, the great sports movies always have very memorable soundtracks. I'm talking about songs that don't just make you reflect on a particular scene but transport you into the very essence of the sport itself. With this in mind, I decided to compile a collection of what I consider to be the best sports movie songs ever. Of course there might be some omissions, so feel free to provide me with some feedback in comments section (with your caps lock off, preferably).
The most difficult part of making a list like this was determining how many songs from the Rocky franchise to include. Montages are a fairly critical aspect of more or less every sports film, and Sly Stallone's movies more or less wrote the book on them. So I would be remiss if I did not at least include the most montagiest of montage songs "Gonna Fly Now." I honestly can't listen to any part of this song without imagining Rocky jogging around war-torn '70s Philly in sweats and a beanie. This song was nominated for an Academy Award in 1977 and -- despite Rocky getting the nod for Best Picture and Best Director -- it somehow didn't win. Instead the honors went to the theme from A Star is Born, which I'm pretty sure is the song that's been playing at my dentist's office for the past 24 years: 0852c4b9a8
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