krista4
Footballguy
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MY List of Top 100 Instrumental Songs/Artists - and at #1 Frankenstein (1 Viewer)
- Thread starter Tom Skerritt
- Start date
Tom Skerritt
Footballguy
I also thought that instrumentals by rock/pop bands might get a little obscure. I have some of my favorites on here, but they are pretty well known. I promise the songs get much better once we get to #50 and lower. I had a tough time hitting 100.
Uruk-Hai
Footballguy
Crap. I was hoping we wouldn't have to fight, but - alas - I guess one of us will have to die.
This is Top Ten in any sane world.
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Tom Skerritt
Footballguy
It's funny, I like this song, but it was not a huge influence on me. A friend of mine and his two younger brothers made a shopping mall video to this song. They had to get up on a couple of mounted surfboards in front of green screen and act like they were surfing the waves all while the Hawaii Five-0 theme music is playing in the background. The final video of course had big waves rolling behind them. Was pretty silly.
Tom Skerritt
Footballguy
#80. Take the 'A' Train - Billy Strayhorn & Duke Ellington
William Thomas Strayhorn (November 29, 1915 – May 31, 1967) was an American jazz composer, pianist, lyricist, and arranger, best remembered for his long-time collaboration with bandleader and composer Duke Ellington that lasted nearly three decades. His compositions include "Take the 'A' Train", "Chelsea Bridge", "A Flower Is a Lovesome Thing", and "Lush Life".
The title refers to the then-new A subway service that runs through New York City, going at that time from eastern Brooklyn, on the Fulton Street Line opened in 1936, up into Harlem and northern Manhattan, using the Eighth Avenue Line in Manhattan opened in 1932.
"Take the 'A' Train" was composed in 1939, after Ellington offered Strayhorn a job in his organization and gave him money to travel from Pittsburgh to New York City. Ellington wrote directions for Strayhorn to get to his house by subway, directions that began, "Take the A Train". Strayhorn was a great fan of Fletcher Henderson's arrangements. "One day, I was thinking about his style, the way he wrote for trumpets, trombones and saxophones, and I thought I would try something like that," Strayhorn recalled in Stanley Dance's The World Of Duke Ellington.
William Thomas Strayhorn (November 29, 1915 – May 31, 1967) was an American jazz composer, pianist, lyricist, and arranger, best remembered for his long-time collaboration with bandleader and composer Duke Ellington that lasted nearly three decades. His compositions include "Take the 'A' Train", "Chelsea Bridge", "A Flower Is a Lovesome Thing", and "Lush Life".
The title refers to the then-new A subway service that runs through New York City, going at that time from eastern Brooklyn, on the Fulton Street Line opened in 1936, up into Harlem and northern Manhattan, using the Eighth Avenue Line in Manhattan opened in 1932.
"Take the 'A' Train" was composed in 1939, after Ellington offered Strayhorn a job in his organization and gave him money to travel from Pittsburgh to New York City. Ellington wrote directions for Strayhorn to get to his house by subway, directions that began, "Take the A Train". Strayhorn was a great fan of Fletcher Henderson's arrangements. "One day, I was thinking about his style, the way he wrote for trumpets, trombones and saxophones, and I thought I would try something like that," Strayhorn recalled in Stanley Dance's The World Of Duke Ellington.
Tom Skerritt
Footballguy
#79. What's Happening!! - Henry Mancini (full-length version)
Mancini scored many TV movies, including The Moneychangers, The Thorn Birds and The Shadow Box. He wrote many television themes, including Mr. Lucky (starring John Vivyan and Ross Martin), NBC Mystery Movie, What's Happening!!, Tic Tac Dough (1990 version) and Once Is Not Enough. In the 1984–85 television season, four series featured original Mancini themes: Newhart, Hotel, Remington Steele, and Ripley's Believe It or Not. Mancini also composed the "Viewer Mail" theme for Late Night with David Letterman. Mancini composed the theme for NBC Nightly News used beginning in 1975, and a different theme by him, titled Salute to the President was used by NBC News for its election coverage (including primaries and conventions) from 1976 to 1992. Salute to the President was only published in a school-band arrangement, although Mancini performed it frequently with symphony orchestras on his concert tours.
What's Happening!! is an American sitcom that aired on ABC from August 5, 1976, to April 28, 1979. The show premiered as a summer series. With good ratings and reviews, and after the failure of several other shows on the network, What's Happening!! returned in November 1976 as a weekly series. It remained a weekly series until 1979; ratings were modest. What's Happening!! was loosely based on the Eric Monte-penned film Cooley High. From 1985 to 1988, a sequel series called What's Happening Now!! aired in first-run syndication, with most of the major cast members reprising their roles.
On a personal note, Raj had a goofy dance that he would perform in several episodes. To this day, that is my "go-to" dance move. And I cal it "The Raj". My wife makes fun of me every time we are anywhere and I bust out "The Raj".
Which Doobie You Be?
Mancini scored many TV movies, including The Moneychangers, The Thorn Birds and The Shadow Box. He wrote many television themes, including Mr. Lucky (starring John Vivyan and Ross Martin), NBC Mystery Movie, What's Happening!!, Tic Tac Dough (1990 version) and Once Is Not Enough. In the 1984–85 television season, four series featured original Mancini themes: Newhart, Hotel, Remington Steele, and Ripley's Believe It or Not. Mancini also composed the "Viewer Mail" theme for Late Night with David Letterman. Mancini composed the theme for NBC Nightly News used beginning in 1975, and a different theme by him, titled Salute to the President was used by NBC News for its election coverage (including primaries and conventions) from 1976 to 1992. Salute to the President was only published in a school-band arrangement, although Mancini performed it frequently with symphony orchestras on his concert tours.
What's Happening!! is an American sitcom that aired on ABC from August 5, 1976, to April 28, 1979. The show premiered as a summer series. With good ratings and reviews, and after the failure of several other shows on the network, What's Happening!! returned in November 1976 as a weekly series. It remained a weekly series until 1979; ratings were modest. What's Happening!! was loosely based on the Eric Monte-penned film Cooley High. From 1985 to 1988, a sequel series called What's Happening Now!! aired in first-run syndication, with most of the major cast members reprising their roles.
On a personal note, Raj had a goofy dance that he would perform in several episodes. To this day, that is my "go-to" dance move. And I cal it "The Raj". My wife makes fun of me every time we are anywhere and I bust out "The Raj".
Which Doobie You Be?
zamboni
Footballguy
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Tom Skerritt
Footballguy
Tom Skerritt
Footballguy
#78. Last Night - The Mar-Keys
"Last Night" is an instrumental recorded by The Mar-Keys. Released in 1961, it reached #3 Pop and #2 in the R&B charts in the United States. It also appeared on Last Night!, the first LP released by the Stax label.
The label of the single gives writing credit simply to "Mar-Keys"; it was registered with BMI as having been written by Charles Axton, Floyd Newman, Gilbert C. Caple, Jerry Lee Smith and Chips Moman.
The song is in a 12 bar blues form, with brief stops, where Floyd Newman intones "Last Night" before the saxophone solo, which is followed by Newman intoning "Oh!!!!!! Yeah!!!" before the last three choruses, including the pauses, before the song's fade.
According to Steve Cropper, in an interview with Paul Nassari of the Sunday Mail newspaper (Adelaide, Australia), "Jerry Lee ‘Smoochy’ Smith came up with the piano riff that was played on organ. Since Moman didn’t want a guitar on it for whatever reason, I wound up playing the hold-down on the organ on the root note. "It hurts me in the Mar-Keys history when people say I wasn’t in the Mar-Keys because there’s no guitar on Last Night but I have to differ with them."
"Last Night" is an instrumental recorded by The Mar-Keys. Released in 1961, it reached #3 Pop and #2 in the R&B charts in the United States. It also appeared on Last Night!, the first LP released by the Stax label.
The label of the single gives writing credit simply to "Mar-Keys"; it was registered with BMI as having been written by Charles Axton, Floyd Newman, Gilbert C. Caple, Jerry Lee Smith and Chips Moman.
The song is in a 12 bar blues form, with brief stops, where Floyd Newman intones "Last Night" before the saxophone solo, which is followed by Newman intoning "Oh!!!!!! Yeah!!!" before the last three choruses, including the pauses, before the song's fade.
According to Steve Cropper, in an interview with Paul Nassari of the Sunday Mail newspaper (Adelaide, Australia), "Jerry Lee ‘Smoochy’ Smith came up with the piano riff that was played on organ. Since Moman didn’t want a guitar on it for whatever reason, I wound up playing the hold-down on the organ on the root note. "It hurts me in the Mar-Keys history when people say I wasn’t in the Mar-Keys because there’s no guitar on Last Night but I have to differ with them."
zamboni
Footballguy
Tom Skerritt
Footballguy
#77. Theme from Mission: Impossible - Lalo Schifrin
"Theme from Mission: Impossible" is the theme tune of the TV series Mission: Impossible (1966–1973). The theme was written and composed by Argentine composer Lalo Schifrin and has since gone on to appear in several other works of the Mission: Impossible franchise, including the 1988 TV series, the film series and the video game series.
The theme is written in a 5/4 time signature which Schifrin has jokingly explained as being "for people who have five legs". However, it should be noted that Schifrin started from the Morse Code for M.I. which is "_ _ .."; if a dot is one beat and a dash is one and a half beats, then this gives a bar of five beats, exactly matching the underlying rhythm.
The original single release peaked at No. 41 on the Billboard Hot 100 and 19 on the magazine's Adult Contemporary chart in 1967 (Leonard Nimoy, before playing Paris in Mission Impossible in 1969, also covered the theme two years earlier).
In 2010, a fictionalized account of Lalo Schifrin's creation of the Mission: Impossible tune was featured in a Lipton TV commercial aired in a number of countries around the world.
"Theme from Mission: Impossible" is the theme tune of the TV series Mission: Impossible (1966–1973). The theme was written and composed by Argentine composer Lalo Schifrin and has since gone on to appear in several other works of the Mission: Impossible franchise, including the 1988 TV series, the film series and the video game series.
The theme is written in a 5/4 time signature which Schifrin has jokingly explained as being "for people who have five legs". However, it should be noted that Schifrin started from the Morse Code for M.I. which is "_ _ .."; if a dot is one beat and a dash is one and a half beats, then this gives a bar of five beats, exactly matching the underlying rhythm.
The original single release peaked at No. 41 on the Billboard Hot 100 and 19 on the magazine's Adult Contemporary chart in 1967 (Leonard Nimoy, before playing Paris in Mission Impossible in 1969, also covered the theme two years earlier).
In 2010, a fictionalized account of Lalo Schifrin's creation of the Mission: Impossible tune was featured in a Lipton TV commercial aired in a number of countries around the world.
Man of Constant Sorrow
Footballguy
Always liked this piece.
In '84, I got the Mission Impossible video game for the Commodore 64 - by "got", I mean copied - too easy to do back then.
Anywho - I always wondered why they never had this music "in-game" - pretty crappy sound, along with the rest.
In retrospect, I wonder if 64k - yes, 64 kilobytes - of RAM could even play this song...I dunno.
Game deserved it - as does this list.
Tom Skerritt
Footballguy
#76. Harlem Nocturne - written by Earle Hagen and **** Rogers (performed by The Viscounts)
"Harlem Nocturne" is a jazz standard written by Earle Hagen and **** Rogers in 1939 for the Ray Noble orchestra, of which they were members. The song was chosen by the big-band leader Randy Brooks the next year as his theme song.
The version by the Viscounts has the distinction of being released twice and rising high on the Billboard charts each time: first in 1959, when it peaked at #53, and again in 1966, peaking at #39 on the Billboard Hot 100 chart.
"Harlem Nocturne" was the theme song of the television series Mickey Spillane's Mike Hammer and The New Mike Hammer.
Harold Faltermeyer recorded a version for the soundtrack to the film Tango & Cash.
On a personal note: This was a regular tune for my jazz saxophonist friend when in high school, we would go downtown and play out in public.
"Harlem Nocturne" is a jazz standard written by Earle Hagen and **** Rogers in 1939 for the Ray Noble orchestra, of which they were members. The song was chosen by the big-band leader Randy Brooks the next year as his theme song.
The version by the Viscounts has the distinction of being released twice and rising high on the Billboard charts each time: first in 1959, when it peaked at #53, and again in 1966, peaking at #39 on the Billboard Hot 100 chart.
"Harlem Nocturne" was the theme song of the television series Mickey Spillane's Mike Hammer and The New Mike Hammer.
Harold Faltermeyer recorded a version for the soundtrack to the film Tango & Cash.
On a personal note: This was a regular tune for my jazz saxophonist friend when in high school, we would go downtown and play out in public.
Tom Skerritt
Footballguy
#75. Batman Theme - Neal Hefti
"Batman Theme", the title song of the 1966 Batman TV series, was composed by Neal Hefti. This song is built around a guitar hook reminiscent of spy film scores and surf music. It has a twelve bar blues progression, using only three chords until the coda.
The eleven cries of "Batman!" are sung by a chorus of four tenors and four sopranos (performed by The Ron Hicklin Singers). A long-held myth purports that the chorus is actually a group of horns. Adam West's book Back to the Batcave also fuels this rumor by claiming the chorus is instrumental, not vocal. However, Neal Hefti, the writer of the theme, stated that the chorus was made up of eight singers, one of whom jokingly wrote on his part, "word and music by Neal Hefti". TV's Biggest Hits by Jon Burlingame, published in 1996, focuses exclusively on TV theme songs, and includes an interview with Hefti about the creation of the Batman theme song. According to Burlingame, the song consisted of "bass guitar, low brass and percussion to create a driving rhythm, while an eight-voice chorus sings 'Batman!' in harmony with the trumpets."
In addition to Neal Hefti's original version, and the television soundtrack version by Nelson Riddle, versions were covered by The Marketts (single "Batman Theme" and album The Batman Theme by The Marketts), The Ventures (The Ventures Play the "Batman" Theme, Dolton BST8042, 3/1966), Al Hirt, The Standells and actor/musician David McCallum.
The song has been widely parodied in the decades since its debut. The theme has been re-recorded by dozens of artists, including Link Wray, Voivod, The Jam, The Who, andThe Kinks.
[See also #88. The Odd Couple by Neal Hefti]
"Batman Theme", the title song of the 1966 Batman TV series, was composed by Neal Hefti. This song is built around a guitar hook reminiscent of spy film scores and surf music. It has a twelve bar blues progression, using only three chords until the coda.
The eleven cries of "Batman!" are sung by a chorus of four tenors and four sopranos (performed by The Ron Hicklin Singers). A long-held myth purports that the chorus is actually a group of horns. Adam West's book Back to the Batcave also fuels this rumor by claiming the chorus is instrumental, not vocal. However, Neal Hefti, the writer of the theme, stated that the chorus was made up of eight singers, one of whom jokingly wrote on his part, "word and music by Neal Hefti". TV's Biggest Hits by Jon Burlingame, published in 1996, focuses exclusively on TV theme songs, and includes an interview with Hefti about the creation of the Batman theme song. According to Burlingame, the song consisted of "bass guitar, low brass and percussion to create a driving rhythm, while an eight-voice chorus sings 'Batman!' in harmony with the trumpets."
In addition to Neal Hefti's original version, and the television soundtrack version by Nelson Riddle, versions were covered by The Marketts (single "Batman Theme" and album The Batman Theme by The Marketts), The Ventures (The Ventures Play the "Batman" Theme, Dolton BST8042, 3/1966), Al Hirt, The Standells and actor/musician David McCallum.
The song has been widely parodied in the decades since its debut. The theme has been re-recorded by dozens of artists, including Link Wray, Voivod, The Jam, The Who, andThe Kinks.
[See also #88. The Odd Couple by Neal Hefti]
Tom Skerritt
Footballguy
#74. Rebel Rouser - Duane Eddy
"Rebel-'Rouser" is a rock and roll instrumental recorded by Duane Eddy. It appeared on Eddy's album Have 'Twangy' Guitar Will Travel. Released as a single in 1958, it charted at #6 on the Billboard Hot 100. On Billboard's R&B Best Sellers chart, "Rebel-Rouser" went to #8.
The tune, Eddy has noted, was not based on “When the Saints Go Marching In” as many assumed, but was loosely inspired by "Who’s Gonna Shoe Your Pretty Little Feet" an old folk song Duane knew from a Tennessee Ernie Ford record. Eddy has spoken of listening to Tennessee Ernie Ford's recording for inspiration on the morning of the recording session for "Rebel-'Rouser".
"Rebel-'Rouser" is a rock and roll instrumental recorded by Duane Eddy. It appeared on Eddy's album Have 'Twangy' Guitar Will Travel. Released as a single in 1958, it charted at #6 on the Billboard Hot 100. On Billboard's R&B Best Sellers chart, "Rebel-Rouser" went to #8.
The tune, Eddy has noted, was not based on “When the Saints Go Marching In” as many assumed, but was loosely inspired by "Who’s Gonna Shoe Your Pretty Little Feet" an old folk song Duane knew from a Tennessee Ernie Ford record. Eddy has spoken of listening to Tennessee Ernie Ford's recording for inspiration on the morning of the recording session for "Rebel-'Rouser".
Tom Skerritt
Footballguy
#73. Rockford Files Theme - Mike Post and Pete Carpenter
"The Rockford Files" is a 1975 instrumental by Mike Post and co-composer Pete Carpenter. The song is the theme from the TV series The Rockford Files starring James Garner. It appears at the opening and ending of each episode with different arrangements. Throughout the show's tenure, the theme song went through numerous evolutions, with later versions containing a distinct electric guitar-based bridge section played by session guitarist Dan Ferguson.
The song spent four months on the charts and in August 1975 became a Top 10 hit in the U.S. (#10, for two weeks) and in Canada (#8). It was also a Top 20 Adult Contemporary hit in both nations.
"The Rockford Files" won a 1975 Grammy Award for Best Instrumental Arrangement.
[See also #97. Hill Street Blues Theme by Mike Post]
"The Rockford Files" is a 1975 instrumental by Mike Post and co-composer Pete Carpenter. The song is the theme from the TV series The Rockford Files starring James Garner. It appears at the opening and ending of each episode with different arrangements. Throughout the show's tenure, the theme song went through numerous evolutions, with later versions containing a distinct electric guitar-based bridge section played by session guitarist Dan Ferguson.
The song spent four months on the charts and in August 1975 became a Top 10 hit in the U.S. (#10, for two weeks) and in Canada (#8). It was also a Top 20 Adult Contemporary hit in both nations.
"The Rockford Files" won a 1975 Grammy Award for Best Instrumental Arrangement.
[See also #97. Hill Street Blues Theme by Mike Post]
Tom Skerritt
Footballguy
#72. TSOP (The Sound Of Philadelphia) - MFSB
"TSOP (The Sound of Philadelphia)" is a 1974 hit recording by MFSB (Mother, Father, Sister, Brother) featuring vocals by The Three Degrees. A classic example of the Philadelphia soulgenre, it was written by Kenneth Gamble and Leon Huff as the theme for the American musical television program Soul Train, which specialized in African American musical performers. The single was released on the Philadelphia International label. It was the first television theme song to reach number one on the Billboard Hot 100, and it is arguably the first discosong to reach that position.
The song is essentially an instrumental piece, featuring a lush blend of strings and horns in the Philadelphia soul style. There are only two vocal parts to the song: a passage close to the beginning during which The Three Degrees sing "People all over the world!"; and the chorus over the fadeout, "Let's get it on/It's time to get down". The words "People all over the world!" are not heard in the original version. The version heard on Soul Train also had the series title sung over the first four notes of the melody, "Soul Train, Soul Train". This particular version was released on a 1975 Three Degrees album, International.
"TSOP" hit number one on the U.S. Billboard Hot 100 in the spring of 1974 and remained there for two weeks, the first television theme song to do so in the history of that chart. It also topped the American R&B chart (for one week) and adult contemporary chart (for two weeks). The Three Degrees would revisit the top of the AC chart later in 1974 with their hit single, "When Will I See You Again".
Don Cornelius, the creator and host of Soul Train, refused to allow any references to the name of the television series when the single was released, leading Gamble and Huff to adopt the alternate title for the release. Cornelius would later admit that not allowing the single to be named Soul Train was a major mistake on his part. (As a result, the Three Degrees' singing of the show's name "Soul Train" during the chorus as heard on the TV version is not heard on the single.)
The song is played at Citizens Bank Park in Philadelphia prior to every Phillies home game. The song's opening was also sampled as program identification for all Philadelphia 76ers games broadcast on WCAU-AM in the mid-to-late 1970s and also used as a during timeout and before cut into a commercial break for the CBS Sports coverage of the NBA games in the beginning of the 1975 playoffs until the 1976 finals.
"TSOP (The Sound of Philadelphia)" is a 1974 hit recording by MFSB (Mother, Father, Sister, Brother) featuring vocals by The Three Degrees. A classic example of the Philadelphia soulgenre, it was written by Kenneth Gamble and Leon Huff as the theme for the American musical television program Soul Train, which specialized in African American musical performers. The single was released on the Philadelphia International label. It was the first television theme song to reach number one on the Billboard Hot 100, and it is arguably the first discosong to reach that position.
The song is essentially an instrumental piece, featuring a lush blend of strings and horns in the Philadelphia soul style. There are only two vocal parts to the song: a passage close to the beginning during which The Three Degrees sing "People all over the world!"; and the chorus over the fadeout, "Let's get it on/It's time to get down". The words "People all over the world!" are not heard in the original version. The version heard on Soul Train also had the series title sung over the first four notes of the melody, "Soul Train, Soul Train". This particular version was released on a 1975 Three Degrees album, International.
"TSOP" hit number one on the U.S. Billboard Hot 100 in the spring of 1974 and remained there for two weeks, the first television theme song to do so in the history of that chart. It also topped the American R&B chart (for one week) and adult contemporary chart (for two weeks). The Three Degrees would revisit the top of the AC chart later in 1974 with their hit single, "When Will I See You Again".
Don Cornelius, the creator and host of Soul Train, refused to allow any references to the name of the television series when the single was released, leading Gamble and Huff to adopt the alternate title for the release. Cornelius would later admit that not allowing the single to be named Soul Train was a major mistake on his part. (As a result, the Three Degrees' singing of the show's name "Soul Train" during the chorus as heard on the TV version is not heard on the single.)
The song is played at Citizens Bank Park in Philadelphia prior to every Phillies home game. The song's opening was also sampled as program identification for all Philadelphia 76ers games broadcast on WCAU-AM in the mid-to-late 1970s and also used as a during timeout and before cut into a commercial break for the CBS Sports coverage of the NBA games in the beginning of the 1975 playoffs until the 1976 finals.
Rove!
Footballguy
Tom Skerritt
Footballguy
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Tom Skerritt
Footballguy
#71. Soul Finger - The Bar-Kays
"Soul Finger" is the first single released by R&B group the Bar-Kays. It was issued by Stax Records on the Volt Records label on April 14, 1967.
The song was written by the Bar-Kays while they were rehearsing with Norman West to perform a cover of J.J. Jackson's "But It's Alright". It begins with the melody of the popular children's song "Mary Had a Little Lamb" and then cuts into the main riff, punctuated with a high trumpet trill. It features a chorus of neighborhood children who had been loitering outside the recording studio; they were instructed to shout "Soul Finger!" and were paid with Coca-Cola.[1] The idea for the title and the shouts came from the Stax songwriters Isaac Hayes and David Porter.
"Soul Finger" was a hit in the United States, peaking at number 3 on the U.S. Billboard R&B singles chart and number 17 on the Billboard Hot 100. The B-side of the single was "Knucklehead", written by Booker T. Jones and Steve Cropper, which reached number 28 on the R&B singles chart and number 76 on the Hot 100. "Soul Finger" and "Knucklehead" were the first two tracks of the Bar-Kays' first LP, Soul Finger, issued on July 10, after nine more tracks had been recorded on June 23.
The song was featured in the 1985 film Spies Like Us during a scene in which Soviet missile control personnel hold a party. Dan Aykroyd, a star of the film, had previously covered "Soul Finger" with John Belushi and their band, the Blues Brothers, on their album, Made in America. The song was also used in the 2007 film Superbad and the 2009 film Soul Men.
The song was covered by Dexys Midnight Runners as the B-side to their 1981 single "Plan B" and is on the compilation The Projected Passion Revue.
"Soul Finger" is the first single released by R&B group the Bar-Kays. It was issued by Stax Records on the Volt Records label on April 14, 1967.
The song was written by the Bar-Kays while they were rehearsing with Norman West to perform a cover of J.J. Jackson's "But It's Alright". It begins with the melody of the popular children's song "Mary Had a Little Lamb" and then cuts into the main riff, punctuated with a high trumpet trill. It features a chorus of neighborhood children who had been loitering outside the recording studio; they were instructed to shout "Soul Finger!" and were paid with Coca-Cola.[1] The idea for the title and the shouts came from the Stax songwriters Isaac Hayes and David Porter.
"Soul Finger" was a hit in the United States, peaking at number 3 on the U.S. Billboard R&B singles chart and number 17 on the Billboard Hot 100. The B-side of the single was "Knucklehead", written by Booker T. Jones and Steve Cropper, which reached number 28 on the R&B singles chart and number 76 on the Hot 100. "Soul Finger" and "Knucklehead" were the first two tracks of the Bar-Kays' first LP, Soul Finger, issued on July 10, after nine more tracks had been recorded on June 23.
The song was featured in the 1985 film Spies Like Us during a scene in which Soviet missile control personnel hold a party. Dan Aykroyd, a star of the film, had previously covered "Soul Finger" with John Belushi and their band, the Blues Brothers, on their album, Made in America. The song was also used in the 2007 film Superbad and the 2009 film Soul Men.
The song was covered by Dexys Midnight Runners as the B-side to their 1981 single "Plan B" and is on the compilation The Projected Passion Revue.
Tom Skerritt
Footballguy
#70. Fire On High - Electric Light Orchestra
"Fire on High" is the opening instrumental track from the 1975 Electric Light Orchestra (ELO) album Face the Music.
The song was the UK B-side to the band's worldwide hit single "Livin' Thing", issued in blue vinyl. It was also later included — in an edited form minus the backwards vocals — as the flip side of the United States hit single "Sweet Talkin' Woman" in 1978.
The album version contains an opening with a backwards message. When the song is played in reverse, the message, in a masked heavy voice (performed by ELO drummer, Bev Bevan), can be heard stating, "The music is reversible but time is not. Turn back. Turn back. Turn back. Turn back." — ostensibly Jeff Lynne's shot at backmasking hysteria, after satanic allegations were made against their song "Eldorado" by Fundamentalist Christianity members. Snippets of Messiah by Handel can be heard during the album opening as well.
"Fire on High" was used as the opening theme for the CBS Sports Spectacular TV show in the mid-1970s. Currently, it is the opening and closing theme to "The Diner with Lou Simon," a weekly music-related talk show on SiriusXM Satellite Radio.
In 2000, The New Jersey Devils used the song, accompanied by visuals, in the opening ceremony for all their home games. Much of the song was also played prior to every Atlanta Thrashers home game.
"Fire on High" is played inside the "Astrosphere" at Funtown Splashtown USA in Saco, ME. The ride is a Scrambler ride inside of a large dome.
Despite being almost entirely instrumental, the song's title can be faintly heard near the end of the track by the chanting chorus.
"Fire on High" is the opening instrumental track from the 1975 Electric Light Orchestra (ELO) album Face the Music.
The song was the UK B-side to the band's worldwide hit single "Livin' Thing", issued in blue vinyl. It was also later included — in an edited form minus the backwards vocals — as the flip side of the United States hit single "Sweet Talkin' Woman" in 1978.
The album version contains an opening with a backwards message. When the song is played in reverse, the message, in a masked heavy voice (performed by ELO drummer, Bev Bevan), can be heard stating, "The music is reversible but time is not. Turn back. Turn back. Turn back. Turn back." — ostensibly Jeff Lynne's shot at backmasking hysteria, after satanic allegations were made against their song "Eldorado" by Fundamentalist Christianity members. Snippets of Messiah by Handel can be heard during the album opening as well.
"Fire on High" was used as the opening theme for the CBS Sports Spectacular TV show in the mid-1970s. Currently, it is the opening and closing theme to "The Diner with Lou Simon," a weekly music-related talk show on SiriusXM Satellite Radio.
In 2000, The New Jersey Devils used the song, accompanied by visuals, in the opening ceremony for all their home games. Much of the song was also played prior to every Atlanta Thrashers home game.
"Fire on High" is played inside the "Astrosphere" at Funtown Splashtown USA in Saco, ME. The ride is a Scrambler ride inside of a large dome.
Despite being almost entirely instrumental, the song's title can be faintly heard near the end of the track by the chanting chorus.
Scott Tenorman
Footballguy
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Mr. Mojo
Footballguy
krista4
Footballguy
Any and all Stax-related works are getting a "like" from me. I expect we'll see at least one more, hopefully in a high spot.
Tom Skerritt
Footballguy
I will just say that Stax records is the greatest record company in the history of record companies, IMHO.krista4 said:
Tom Skerritt
Footballguy
#69. April In Paris - Count Basie & His Orchestra
"April in Paris" is a popular song composed by Vernon Duke with lyrics by Yip Harburg in 1932 for the Broadway musical Walk a Little Faster. The original 1933 hit was performed by Freddy Martin, and the 1952 remake (inspired by the movie of the same name) was by the Sauter-Finegan Orchestra, whose version made the Cashbox Top 50.
Composer Alec Wilder writes, "There are no two ways about it: this is a perfect theater song. If that sounds too reverent, then I'll reduce the praise to 'perfectly wonderful,' or else say that if it's not perfect, show me why it isn't."
Freddy Martin and Henry King had the earliest hits of this song, at the very end of 1933.
It has been performed by many artists, including Louis Armstrong, Count Basie, Billy Eckstine, Bill Evans, Charlie Parker, Coleman Hawkins, Frank Sinatra, Mary Kaye Trio, Billie Holiday, Thelonious Monk, Bud Powell, Erroll Garner, Ella Fitzgerald, Sarah Vaughan, Benny Goodman, Dinah Shore, Glenn Miller, Tommy Dorsey, Joni James, Blossom Dearie, Doris Day, Alex Chilton, Wynton Marsalis, Andy Williams, Amanda Thorpe, Michel Legrand, and Dawn Upshaw. Basie's 1955 recording is the most famous, and that particular performance was inducted into the Grammy Hall of Fame. On this recording, trumpeter Thad Jones played his famous "Pop Goes the Weasel" solo, trombonist Benny Powell performed his much noted bridge, and Basie directs the band to play the short chorus "one more time" and then "one more once."
The song is also featured in the film Blazing Saddles from 1974, being played by Count Basie in a cameo appearance. Basie's recording is also featured in the video game Grand Theft Auto IV, on the fictional jazz radio station JNR 108.5.
Scene from Blazing Saddles
"April in Paris" is a popular song composed by Vernon Duke with lyrics by Yip Harburg in 1932 for the Broadway musical Walk a Little Faster. The original 1933 hit was performed by Freddy Martin, and the 1952 remake (inspired by the movie of the same name) was by the Sauter-Finegan Orchestra, whose version made the Cashbox Top 50.
Composer Alec Wilder writes, "There are no two ways about it: this is a perfect theater song. If that sounds too reverent, then I'll reduce the praise to 'perfectly wonderful,' or else say that if it's not perfect, show me why it isn't."
Freddy Martin and Henry King had the earliest hits of this song, at the very end of 1933.
It has been performed by many artists, including Louis Armstrong, Count Basie, Billy Eckstine, Bill Evans, Charlie Parker, Coleman Hawkins, Frank Sinatra, Mary Kaye Trio, Billie Holiday, Thelonious Monk, Bud Powell, Erroll Garner, Ella Fitzgerald, Sarah Vaughan, Benny Goodman, Dinah Shore, Glenn Miller, Tommy Dorsey, Joni James, Blossom Dearie, Doris Day, Alex Chilton, Wynton Marsalis, Andy Williams, Amanda Thorpe, Michel Legrand, and Dawn Upshaw. Basie's 1955 recording is the most famous, and that particular performance was inducted into the Grammy Hall of Fame. On this recording, trumpeter Thad Jones played his famous "Pop Goes the Weasel" solo, trombonist Benny Powell performed his much noted bridge, and Basie directs the band to play the short chorus "one more time" and then "one more once."
The song is also featured in the film Blazing Saddles from 1974, being played by Count Basie in a cameo appearance. Basie's recording is also featured in the video game Grand Theft Auto IV, on the fictional jazz radio station JNR 108.5.
Scene from Blazing Saddles
Tom Skerritt
Footballguy
#68. Perfidia - written by Alberto Dominguez (performed by The Ventures)
"Perfidia" (Spanish for "perfidy", meaning faithlessness, treachery or betrayal) is a song written by Alberto Domínguez (1911–1975), a Mexican composer and arranger born in the state of Chiapas, about love and betrayal. Aside from the original Spanish, other renditions exist, including English and instrumental versions. The English lyrics are by Milton Leeds. The song was published in 1939 and became a hit for Xavier Cugat on the Victor label in 1940. Desi Arnaz sings the Spanish version in the 1941 film Father Takes a Wife which starred Gloria Swanson. This version was used by director Wong Kar-wai in his films Days of Being Wild, In the Mood for Love, and 2046.
In late 1960 a rock instrumental version of "Perfidia" was released by the Ventures, which rose to number 18 on the Billboard chart. The record was a Top 10 hit on a number of popular music radio stations, including KYA in San Francisco, KLIF Dallas, KOL Seattle, KDWB Minneapolis, WHK Cleveland, KIMN Denver, and KISN Portland. The record topped out at number 11 on the charts of WLS Chicago, and WIBG Philadelphia.
"Perfidia" (Spanish for "perfidy", meaning faithlessness, treachery or betrayal) is a song written by Alberto Domínguez (1911–1975), a Mexican composer and arranger born in the state of Chiapas, about love and betrayal. Aside from the original Spanish, other renditions exist, including English and instrumental versions. The English lyrics are by Milton Leeds. The song was published in 1939 and became a hit for Xavier Cugat on the Victor label in 1940. Desi Arnaz sings the Spanish version in the 1941 film Father Takes a Wife which starred Gloria Swanson. This version was used by director Wong Kar-wai in his films Days of Being Wild, In the Mood for Love, and 2046.
In late 1960 a rock instrumental version of "Perfidia" was released by the Ventures, which rose to number 18 on the Billboard chart. The record was a Top 10 hit on a number of popular music radio stations, including KYA in San Francisco, KLIF Dallas, KOL Seattle, KDWB Minneapolis, WHK Cleveland, KIMN Denver, and KISN Portland. The record topped out at number 11 on the charts of WLS Chicago, and WIBG Philadelphia.
Tom Skerritt
Footballguy
#67. Rise - Herb Alpert
"Rise" is an instrumental written by Andy Armer and Randy 'Badazz' Alpert, and first recorded by trumpeter Herb Alpert. The instrumental track was included on Alpert's solo album Rise and released as a single in 1979. It reached number one on the U.S. Billboard Hot 100 in October of that year and remained in the top position for two weeks. Herb Alpert thus became the first (and only) artist to reach the top of the Hot 100 with a vocal performance ("This Guy's in Love with You", 1968) as well as an instrumental performance. "Rise" also spent one week atop the adult contemporary chart. "Rise" was successful on the other charts, peaking at number four on the R&B chart[1] and number seventeen on the disco chart.[2] The recording also received a Grammy Award for Best Pop Instrumental Performance. Songwriters Andy Armer and Randy 'Badazz' Alpert were both nominated for a Grammy Award for Best Instrumental Composition.
"Rise" was originally recorded as an uptempo dance number; however, while recording the master at A&M studios, the drummer on the session, Steve Schaefer, strongly suggested that Herb and Randy try slowing the tempo down to 100bpm. Upon release, the instrumental received an unexpected burst of promotion: Jill Farren Phelps, musical director of the ABC soap opera General Hospital, decided to use "Rise" as the musical backdrop for the rape of Laura Webber by Luke Spencer. For several weeks afterward, the recording was played on the show to evoke the memory of Luke's act. The added exposure in an extremely popular program boosted sales to the point of selling more than one million copies.
Shortly after "Rise" became a hit in the United States, it became a hit in the United Kingdom when British disc jockeys were playing import copies of the record at the wrong speed.
A sample of "Rise" is the entire musical groove of the 1997 number-one worldwide hit song, "Hypnotize", recorded by The Notorious B.I.G. and co-produced by Sean "Puffy" Combs.
"Run" by Bell Biv DeVoe samples the same portion sampled in "Hypnotize".
In 1999, Brazilian saxophonist Léo Gandelman included a remake of "Rise" in his album Brazilian Soul.
R&B singer Monica sampled the recording on the song "I'm Back" on her 2002 album All Eyez on Me.
In 2014, electronic music duo Glass Candy released a cover version of the song.
"Rise" is an instrumental written by Andy Armer and Randy 'Badazz' Alpert, and first recorded by trumpeter Herb Alpert. The instrumental track was included on Alpert's solo album Rise and released as a single in 1979. It reached number one on the U.S. Billboard Hot 100 in October of that year and remained in the top position for two weeks. Herb Alpert thus became the first (and only) artist to reach the top of the Hot 100 with a vocal performance ("This Guy's in Love with You", 1968) as well as an instrumental performance. "Rise" also spent one week atop the adult contemporary chart. "Rise" was successful on the other charts, peaking at number four on the R&B chart[1] and number seventeen on the disco chart.[2] The recording also received a Grammy Award for Best Pop Instrumental Performance. Songwriters Andy Armer and Randy 'Badazz' Alpert were both nominated for a Grammy Award for Best Instrumental Composition.
"Rise" was originally recorded as an uptempo dance number; however, while recording the master at A&M studios, the drummer on the session, Steve Schaefer, strongly suggested that Herb and Randy try slowing the tempo down to 100bpm. Upon release, the instrumental received an unexpected burst of promotion: Jill Farren Phelps, musical director of the ABC soap opera General Hospital, decided to use "Rise" as the musical backdrop for the rape of Laura Webber by Luke Spencer. For several weeks afterward, the recording was played on the show to evoke the memory of Luke's act. The added exposure in an extremely popular program boosted sales to the point of selling more than one million copies.
Shortly after "Rise" became a hit in the United States, it became a hit in the United Kingdom when British disc jockeys were playing import copies of the record at the wrong speed.
A sample of "Rise" is the entire musical groove of the 1997 number-one worldwide hit song, "Hypnotize", recorded by The Notorious B.I.G. and co-produced by Sean "Puffy" Combs.
"Run" by Bell Biv DeVoe samples the same portion sampled in "Hypnotize".
In 1999, Brazilian saxophonist Léo Gandelman included a remake of "Rise" in his album Brazilian Soul.
R&B singer Monica sampled the recording on the song "I'm Back" on her 2002 album All Eyez on Me.
In 2014, electronic music duo Glass Candy released a cover version of the song.
![[scooter]](/data/avatars/m/22/22287.jpg?1659477690){kind=avatar}
[scooter]
Footballguy
zamboni
Footballguy
Tom Skerritt
Footballguy
Tom Skerritt
Footballguy
Not unlike the rape scene from The Accused with Jodie Foster. The music kinda sticks with you.
Tom Skerritt
Footballguy
#66. Breezin' - composed by Bobby Womack (performed by George Benson)
"Breezin'" is an instrumental song composed by American singer and musician Bobby Womack. It was originally recorded in December 1970 by the influential Hungarian jazz guitaristGábor Szabó, in partnership with Womack himself. The song was originally released in 1971 on the Szabó's album High Contrast. The song was released as a single in April 1971 in the United States and in 1972 in the Netherlands. The single reached No. 43 on the R&B chart the same year. "Breezin'" was produced by Tommy LiPuma.
Five years later after Gábor Szabó's original recording, the song became even better known for a successful re-recording by singer and guitarist George Benson, whose 1976 cover was the title track of his album Breezin'. His version was recorded in January 1976 and released as a single in September of the same year, entering for the American charts. Coincidentally, his cover as well as his complete album Breezin' were also produced by Tommy LiPuma. The album and single were released by Warner Bros. Records.
In 1977, Gábor Szabó complained to the audience about George Benson's success with "Breezin'", during an engagement at the Catamaran Hotel in San Diego. Szabó indicated that he had recorded this song before Benson and accused Benson of having plagiarized his arrangement. He expressed disdain for Benson's success with his arrangement that Szabó himself had created.
"Breezin'" is an instrumental song composed by American singer and musician Bobby Womack. It was originally recorded in December 1970 by the influential Hungarian jazz guitaristGábor Szabó, in partnership with Womack himself. The song was originally released in 1971 on the Szabó's album High Contrast. The song was released as a single in April 1971 in the United States and in 1972 in the Netherlands. The single reached No. 43 on the R&B chart the same year. "Breezin'" was produced by Tommy LiPuma.
Five years later after Gábor Szabó's original recording, the song became even better known for a successful re-recording by singer and guitarist George Benson, whose 1976 cover was the title track of his album Breezin'. His version was recorded in January 1976 and released as a single in September of the same year, entering for the American charts. Coincidentally, his cover as well as his complete album Breezin' were also produced by Tommy LiPuma. The album and single were released by Warner Bros. Records.
In 1977, Gábor Szabó complained to the audience about George Benson's success with "Breezin'", during an engagement at the Catamaran Hotel in San Diego. Szabó indicated that he had recorded this song before Benson and accused Benson of having plagiarized his arrangement. He expressed disdain for Benson's success with his arrangement that Szabó himself had created.
Tom Skerritt
Footballguy
#65. Sirius - The Alan Parsons Project
"Sirius" is a 1982 song by the British rock band The Alan Parsons Project from the album Eye in the Sky. It is a 1:54 minute instrumental piece that segues into "Eye in the Sky" on the original recording. From the 1990s onward, "Sirius" has become a staple of many college and professional sporting arenas throughout North America.
"Sirius" is best known in the U.S. as the instrumental song that was used to introduce the starting lineup of the Chicago Bulls for home games at both Chicago Stadium and the United Center during their run of six NBA championships between 1991 and 1998, and still currently serves as their introduction theme. "Sirius" was the opening number of the 2000 documentary Michael Jordan to the Max.
The piece has also been used by the NBA teams the Phoenix Suns and the Milwaukee Bucks to introduce their starting lineup during home games. The Utah Jazz used the instrumental piece to introduce their starting lineup for Game 6 of the 1998 NBA Finals.
Since the 1994 season, "Sirius" has played before the Nebraska Cornhuskers' home football games as part of the pre-game tunnel walk. The Kansas City Chiefs used the song during kickoffs during the Coach Marty Schottenheimer era (which lasted from 1989–1998). It was used by the New Orleans Saints in 2009 as their entrance music for Super Bowl XLIV.
"Sirius" is a 1982 song by the British rock band The Alan Parsons Project from the album Eye in the Sky. It is a 1:54 minute instrumental piece that segues into "Eye in the Sky" on the original recording. From the 1990s onward, "Sirius" has become a staple of many college and professional sporting arenas throughout North America.
"Sirius" is best known in the U.S. as the instrumental song that was used to introduce the starting lineup of the Chicago Bulls for home games at both Chicago Stadium and the United Center during their run of six NBA championships between 1991 and 1998, and still currently serves as their introduction theme. "Sirius" was the opening number of the 2000 documentary Michael Jordan to the Max.
The piece has also been used by the NBA teams the Phoenix Suns and the Milwaukee Bucks to introduce their starting lineup during home games. The Utah Jazz used the instrumental piece to introduce their starting lineup for Game 6 of the 1998 NBA Finals.
Since the 1994 season, "Sirius" has played before the Nebraska Cornhuskers' home football games as part of the pre-game tunnel walk. The Kansas City Chiefs used the song during kickoffs during the Coach Marty Schottenheimer era (which lasted from 1989–1998). It was used by the New Orleans Saints in 2009 as their entrance music for Super Bowl XLIV.
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Mr. Mojo
Footballguy
Tom Skerritt
Footballguy
Tom Skerritt
Footballguy
Tom Skerritt
Footballguy
#64. Tubular Bells - Mike Oldfield
Tubular Bells is the debut album by English musician and composer Mike Oldfield, released on Virgin Records on 25 May 1973. It comprises two mostly instrumental compositions of over twenty minutes each. Oldfield recorded it when he was 19 and played most of the instruments.
Although sales were initially slow, Tubular Bells gained global attention when it was used on the soundtrack to the horror film The Exorcist (1973). In 1974, it reached number one in the UK, Australia and Canada, and number three on the US Billboard 200. It was the third-bestselling album of the 1970s in the UK. It is estimated to have sold more than 15 million copies worldwide, including more than 2.6 million in the UK. Tubular Bells was the first release on the Virgin Records label, and its success played an important part in the growth of the Virgin Group.
Tubular Bells was orchestrated in 1973 by David Bedford for The Orchestral Tubular Bells, rerecorded as Tubular Bells 2003 for its 30th anniversary, and remastered and reissued in 2009 on Mercury Records. Oldfield recorded three sequels: Tubular Bells II (1992), Tubular Bells III (1998) and The Millennium Bell (1999). Its contribution to British music was recognised when Oldfield played extracts during the 2012 Summer Olympics opening ceremony in London.
Tubular Bells is the debut album by English musician and composer Mike Oldfield, released on Virgin Records on 25 May 1973. It comprises two mostly instrumental compositions of over twenty minutes each. Oldfield recorded it when he was 19 and played most of the instruments.
Although sales were initially slow, Tubular Bells gained global attention when it was used on the soundtrack to the horror film The Exorcist (1973). In 1974, it reached number one in the UK, Australia and Canada, and number three on the US Billboard 200. It was the third-bestselling album of the 1970s in the UK. It is estimated to have sold more than 15 million copies worldwide, including more than 2.6 million in the UK. Tubular Bells was the first release on the Virgin Records label, and its success played an important part in the growth of the Virgin Group.
Tubular Bells was orchestrated in 1973 by David Bedford for The Orchestral Tubular Bells, rerecorded as Tubular Bells 2003 for its 30th anniversary, and remastered and reissued in 2009 on Mercury Records. Oldfield recorded three sequels: Tubular Bells II (1992), Tubular Bells III (1998) and The Millennium Bell (1999). Its contribution to British music was recognised when Oldfield played extracts during the 2012 Summer Olympics opening ceremony in London.
Tom Skerritt
Footballguy
I like it, and I get it's significance. It's a great song. I just don't have the same reverence for it that some of you seem to have. But it's MY list.
Leroy Hoard
Footballguy
zamboni
Footballguy
I can't think of too many soundtrack songs that capture the atmosphere of a movie better than "Tubular Bells" does in The Exorcist.
Tom Skerritt
Footballguy
#63. Moonlight Serenade - Glenn Miller
"Moonlight Serenade" is an American swing ballad composed by Glenn Miller with subsequent lyrics by Mitchell Parish. It was an immediate phenomenon when released in May 1939 as an instrumental arrangement, though it had been adopted and performed as Miller's signature tune as early as 1938, even before it had been given the name "Moonlight Serenade." In 1991, Miller's recording of "Moonlight Serenade" was inducted into the Grammy Hall of Fame.
The song was recorded on April 4, 1939 for on RCA Bluebird. It was a Top Ten hit on the U.S. pop charts in 1939, reaching number three on the Billboard charts, where it stayed for fifteen weeks. It was the number 5 top pop hit of 1939 in the Billboard year-end tally. Miller had five records in the top 20 songs of 1939 on the Billboard list.
The song evolved from a 1935 version entitled "Now I Lay Me Down to Weep", with music by Glenn Miller and lyrics by Eddie Heyman to a version called "Gone with the Dawn" with lyrics by George Simon, and "The Wind in the Trees" with lyrics by Mitchell Parish. In his biography of Glenn Miller, George T. Simon recounted how vocalist Al Bowlly of the Ray Noble Orchestra sang him the Eddie Heyman lyrics to the Glenn Miller music of "Now I Lay Me Down to Weep" in 1935. The Noble Orchestra never recorded the song. Finally it ended up as "Moonlight Serenade" because Robbins Music bought the music and learned that Miller was recording a cover of "Sunrise Serenade", a Frankie Carle associated song for RCA Victor. They thought "Moonlight" would be a natural association for "Sunrise".
Jazz critic Gary Giddins wrote about the song's impact and legacy; "Miller exuded little warmth on or off the bandstand, but once the band struck up its theme, audiences were done for: throats clutched, eyes softened. Can any other record match 'Moonlight Serenade' for its ability to induce a Pavlovian slobber in so many for so long?" (The New Yorker, May 24, 2004).
"Moonlight Serenade" is an American swing ballad composed by Glenn Miller with subsequent lyrics by Mitchell Parish. It was an immediate phenomenon when released in May 1939 as an instrumental arrangement, though it had been adopted and performed as Miller's signature tune as early as 1938, even before it had been given the name "Moonlight Serenade." In 1991, Miller's recording of "Moonlight Serenade" was inducted into the Grammy Hall of Fame.
The song was recorded on April 4, 1939 for on RCA Bluebird. It was a Top Ten hit on the U.S. pop charts in 1939, reaching number three on the Billboard charts, where it stayed for fifteen weeks. It was the number 5 top pop hit of 1939 in the Billboard year-end tally. Miller had five records in the top 20 songs of 1939 on the Billboard list.
The song evolved from a 1935 version entitled "Now I Lay Me Down to Weep", with music by Glenn Miller and lyrics by Eddie Heyman to a version called "Gone with the Dawn" with lyrics by George Simon, and "The Wind in the Trees" with lyrics by Mitchell Parish. In his biography of Glenn Miller, George T. Simon recounted how vocalist Al Bowlly of the Ray Noble Orchestra sang him the Eddie Heyman lyrics to the Glenn Miller music of "Now I Lay Me Down to Weep" in 1935. The Noble Orchestra never recorded the song. Finally it ended up as "Moonlight Serenade" because Robbins Music bought the music and learned that Miller was recording a cover of "Sunrise Serenade", a Frankie Carle associated song for RCA Victor. They thought "Moonlight" would be a natural association for "Sunrise".
Jazz critic Gary Giddins wrote about the song's impact and legacy; "Miller exuded little warmth on or off the bandstand, but once the band struck up its theme, audiences were done for: throats clutched, eyes softened. Can any other record match 'Moonlight Serenade' for its ability to induce a Pavlovian slobber in so many for so long?" (The New Yorker, May 24, 2004).
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