MY List of Top 100 Instrumental Songs/Artists - and at #1 Frankenstein (2 Viewers)

[Tom Skerritt]

#28. Outa Space - Billy Preston

"Outa-Space" is an instrumental recorded by Billy Preston that originally appeared on his 1971 A&M Records-debut album, I Wrote a Simple Song. Preston created the sound of "Outa-Space" by running the sound from a clavinet through a wah wah pedal and then improvising a groove while calling out chord changes to the backing band. He later added organ and hand claps to the track. Preston came up with the title "Outa-Space" due to the instrumental's spacy sound.

While he thought it would be a hit, A&M was skeptical and issued it as the B-side of "I Wrote a Simple Song" in December 1971. However, radio DJs began flipping the single and, while "I Wrote a Simple Song" only reached number 77 on the Billboard Hot 100chart, "Outa-Space" peaked at number 2, showing that Preston's feelings about it were correct.

"Outa-Space" was kept out of the number 1 spot by, Lean on Me by Bill Withers. The instrumental also topped the R&B Singles chart for a week. The single was certified gold by the RIAA for sales of one million copies. In late 1972, "Outa-Space" peaked at number 44 on the UK Singles Chart.

"Outa-Space" won the Grammy for Best Pop Instrumental Performance of 1972. Billboard ranked it as the number 22 song for 1972.

In the 1990s Intel Corporation used the song to promote their MMX-enabled Pentium processors.

 

[Tom Skerritt]

#27. William Tell Overture Finale - Gioachino Rossini

The William Tell Overture is the overture to the opera William Tell (original French title Guillaume Tell), whose music was composed by Gioachino Rossini. William Tell premiered in 1829 and was the last of Rossini's 39 operas, after which he went into semi-retirement (he continued to compose cantatas, sacred music and secular vocal music). The overture is in four parts, each following without pause.

There has been repeated use (and sometimes parody) of parts of this overture in both classical music and popular media, most famously as the theme music for The Lone Ranger in radio, television and film. Two different parts were also used, as theme music for the British television series The Adventures of William Tell, the fourth part (popularly identified in the US with The Lone Ranger) in the UK, and the third part, rearranged as a stirring march, in the US.

The finale, often called the "March of the Swiss Soldiers" in English, is in E major like the prelude, but it is an ultra-dynamic galop heralded by trumpets and played by the full orchestra. It alludes to the final act, which recounts the Swiss soldiers's victorious battle to liberate their homeland from Austrian repression. The segment lasts for about three minutes.

Although there are no horses or cavalry charges in the opera, this segment is often used in popular media to denote galloping horses, a race, or a hero riding to the rescue. Its most famous use in that respect is as the theme music for The Lone Ranger; that usage has become so famous that the term "intellectual" has been defined as "a man who can listen to the William Tell Overture without thinking of the Lone Ranger."

Among the films which feature the overture prominently is Stanley Kubrick's A Clockwork Orange, where an electronic rearrangement by Wendy Carlos of the finale is played during a fast motion orgy scene. The less frequently heard introductory portion of the overture is used as somber mood music later in the film.

The overture, especially its finale, also features in several sporting events. It has been used by the Hong Kong Jockey Club for many years. During the third television time-out of every second half at Indiana University basketball games, the Indiana pep band and cheerleading squad perform the overture with cheerleaders racing around the court carrying eighteen flags. Indiana public address announcer Chuck Crabb said the tradition began in about 1979 or 1980. Sportscaster Billy Packer called it "the greatest college timeout in the country."

 

[zamboni]

I think it would be good if it was ever used in a Bugs Bunny cartoon.

The only complaint I have in this thread is how none of the classical pieces were incorporated into memorable Bugs scenes. The just mentioned William Tell Overture has been used a lot in cartoons, but IIRC not part of one of Bugs' big time scenes. 

 

[Tom Skerritt]

The only complaint I have in this thread is how none of the classical pieces were incorporated into memorable Bugs scenes. The just mentioned William Tell Overture has been used a lot in cartoons, but IIRC not part of one of Bugs' big time scenes. 

Described by David Wondrich as a "frequent target of plunder by brass bands in the years during which they dominated the American musical landscape", the overture features prominently in Walt Disney's Mickey Mouse cartoon The Band Concert. It has also been used in cartoons parodying classical music (e.g. Bugs Bunny's Overtures to Disaster in which the overture's finale is performed by Daffy Duck and Porky Pig) or Westerns (e.g. Bugs Bunny Rides Again). The finale has also been sung with specially written lyrics by Daffy Duck in Yankee Doodle Daffy and by a quartet of singing policemen (as "Happy Anniversary") in The Flintstones episode "The Hot Piano".

 

[zamboni]

Described by David Wondrich as a "frequent target of plunder by brass bands in the years during which they dominated the American musical landscape", the overture features prominently in Walt Disney's Mickey Mouse cartoon The Band Concert. It has also been used in cartoons parodying classical music (e.g. Bugs Bunny's Overtures to Disaster in which the overture's finale is performed by Daffy Duck and Porky Pig) or Westerns (e.g. Bugs Bunny Rides Again). The finale has also been sung with specially written lyrics by Daffy Duck in Yankee Doodle Daffy and by a quartet of singing policemen (as "Happy Anniversary") in The Flintstones episode "The Hot Piano".

Yes, of course

I was talking Bugs though, who was the king of classical music use. He has used a ton, but I was thinking more of the Rabbit of Sevilles of the world.

 

[wikkidpissah]

#27. William Tell Overture Finale - Gioachino Rossini

The William Tell Overture is the overture to the opera William Tell (original French title Guillaume Tell), whose music was composed by Gioachino Rossini. William Tell premiered in 1829 and was the last of Rossini's 39 operas, after which he went into semi-retirement (he continued to compose cantatas, sacred music and secular vocal music). The overture is in four parts, each following without pause.

There has been repeated use (and sometimes parody) of parts of this overture in both classical music and popular media, most famously as the theme music for The Lone Ranger in radio, television and film. Two different parts were also used, as theme music for the British television series The Adventures of William Tell, the fourth part (popularly identified in the US with The Lone Ranger) in the UK, and the third part, rearranged as a stirring march, in the US.

The finale, often called the "March of the Swiss Soldiers" in English, is in E major like the prelude, but it is an ultra-dynamic galop heralded by trumpets and played by the full orchestra. It alludes to the final act, which recounts the Swiss soldiers's victorious battle to liberate their homeland from Austrian repression. The segment lasts for about three minutes.

Although there are no horses or cavalry charges in the opera, this segment is often used in popular media to denote galloping horses, a race, or a hero riding to the rescue. Its most famous use in that respect is as the theme music for The Lone Ranger; that usage has become so famous that the term "intellectual" has been defined as "a man who can listen to the William Tell Overture without thinking of the Lone Ranger."

Among the films which feature the overture prominently is Stanley Kubrick's A Clockwork Orange, where an electronic rearrangement by Wendy Carlos of the finale is played during a fast motion orgy scene. The less frequently heard introductory portion of the overture is used as somber mood music later in the film.

The overture, especially its finale, also features in several sporting events. It has been used by the Hong Kong Jockey Club for many years. During the third television time-out of every second half at Indiana University basketball games, the Indiana pep band and cheerleading squad perform the overture with cheerleaders racing around the court carrying eighteen flags. Indiana public address announcer Chuck Crabb said the tradition began in about 1979 or 1980. Sportscaster Billy Packer called it "the greatest college timeout in the country."

Always sends me thinking of the late, great Glen Campbell, who featured this in all his shows. I actually first looked him up for Flight of the Bumblebee cuz i thought he did both of them, but couldn;t find a link. 

 

[[scooter]]

#27. William Tell Overture Finale - Gioachino Rossini

The William Tell Overture is the overture to the opera William Tell (original French title Guillaume Tell), whose music was composed by Gioachino Rossini. William Tell premiered in 1829 and was the last of Rossini's 39 operas, after which he went into semi-retirement (he continued to compose cantatas, sacred music and secular vocal music). The overture is in four parts, each following without pause.

There has been repeated use (and sometimes parody) of parts of this overture in both classical music and popular media, most famously as the theme music for The Lone Ranger in radio, television and film. Two different parts were also used, as theme music for the British television series The Adventures of William Tell, the fourth part (popularly identified in the US with The Lone Ranger) in the UK, and the third part, rearranged as a stirring march, in the US.

The finale, often called the "March of the Swiss Soldiers" in English, is in E major like the prelude, but it is an ultra-dynamic galop heralded by trumpets and played by the full orchestra. It alludes to the final act, which recounts the Swiss soldiers's victorious battle to liberate their homeland from Austrian repression. The segment lasts for about three minutes.

Although there are no horses or cavalry charges in the opera, this segment is often used in popular media to denote galloping horses, a race, or a hero riding to the rescue. Its most famous use in that respect is as the theme music for The Lone Ranger; that usage has become so famous that the term "intellectual" has been defined as "a man who can listen to the William Tell Overture without thinking of the Lone Ranger."

Among the films which feature the overture prominently is Stanley Kubrick's A Clockwork Orange, where an electronic rearrangement by Wendy Carlos of the finale is played during a fast motion orgy scene. The less frequently heard introductory portion of the overture is used as somber mood music later in the film.

The overture, especially its finale, also features in several sporting events. It has been used by the Hong Kong Jockey Club for many years. During the third television time-out of every second half at Indiana University basketball games, the Indiana pep band and cheerleading squad perform the overture with cheerleaders racing around the court carrying eighteen flags. Indiana public address announcer Chuck Crabb said the tradition began in about 1979 or 1980. Sportscaster Billy Packer called it "the greatest college timeout in the country."

Here is the full overture

 

[Tom Skerritt]

#26. Yakety Sax - James Q. "Spider" Rich & Boots Randolph

"Yakety Sax" is a pop novelty instrumental jointly composed by James Q. "Spider" Rich and Boots Randolph. Saxophonist Randolph popularized the selection in his 1963 recording, which reached number 35 on the rock charts. UK comedian Benny Hill later made it more widely known as the closing theme music of The Benny Hill Show. The piece is considered Randolph's signature song.

The selection includes pieces of assorted fiddle tunes and was originally composed by Rich for a performance at a venue called The Armory in Hopkinsville, Kentucky. Two bars of "Entrance of the Gladiators" and "The Girl I Left Behind" are also worked into it.

Randolph's take on the piece was inspired by a sax solo in the Leiber and Stoller song "Yakety Yak", recorded in 1958 by the Coasters. The tunes are similar, and both feature the yakety sax sound. Randolph first recorded Yakety Sax that year for RCA Victor, but it did not become a hit till he re-recorded it for Monument Records in 1963; this version reached number 35 on the Billboard Hot 100 chart.

Yakety Sax is often used in television and film as a soundtrack for outlandishly humorous situations. It was frequently used to accompany comedic sketches—particularly the time-lapse, rapidly paced, silent "chase" skit, which came at the end of almost each episode of the Thames Television comedy programme The Benny Hill Show. Because of this, Yakety Sax is so closely linked to the series that it is also known as The Benny Hill Theme. On The Benny Hill Show, the music was performed by Ronnie Aldrich and His Orchestra.

This use of the piece, and the chase scenes themselves, have been parodied in many other movies and TV shows, including Get a Life, the 2006 American film V for Vendetta, in the 2015 Doctor Who episode "The Girl Who Died", and the animated TV shows The Simpsons, Family Guy, and South Park. The stop motion animated sketch comedy series Robot Chicken featured a brief sketch depicting Benny Hill's funeral (using dolls) where the attendees have a Benny Hill Show-type chase scene with many of the usual gags and a song similar to Yakety Sax. The theme was used during the 2012 Olympics beach volleyball event between sets (where rakers must rush to smooth out the court).

 

[zamboni]

#26. Yakety Sax - James Q. "Spider" Rich & Boots Randolph

It was frequently used to accompany comedic sketches—particularly the time-lapse, rapidly paced, silent "chase" skit, which came at the end of almost each episode of the Thames Television comedy programme The Benny Hill Show. Because of this, Yakety Sax is so closely linked to the series that it is also known as The Benny Hill Theme.

Hard not to think of the head slapping when I hear this song 

 

[HellToupee]

Hard not to think of the head slapping when I hear this song 

Little Jackie Wright 

 

[zamboni]

Little Jackie Wright 

That poor guy got abused, but did get to see some serious eye candy throughout the years. 

 

[Man of Constant Sorrow]

Hard not to think of the head slapping when I hear this song 

Oddly, I thought of head slapping too... 

...but in a slightly different sense. 

I was just the right age for the bare bosom - that periodically appeared on Benny Hill - to be quite stimulating. 

Great song. 

 

[Leroy Hoard]

That poor guy got abused, but did get to see some serious eye candy throughout the years. 

Yes, he always had a good view.

 

[Tom Skerritt]

Oddly, I thought of head slapping too... 

...but in a slightly different sense. 

I was just the right age for the bare bosom - that periodically appeared on Benny Hill - to be quite stimulating. 

Great song. 

Got much of my adolescent live-action bank material from The Benny Hill Show and John Byner's Bizarre.

 

[Tom Skerritt]

#25. Machine Gun - The Commodores

Machine Gun is the debut studio album by The Commodores, released on July 22, 1974, on Motown Records. Unlike subsequent Commodores albums, Machine Gun has only funk music and is devoid of slow-paced ballads.

The titular lead song has Milan Williams on clavinet, which led the Motown executive Berry Gordy to name the song "Machine Gun" as the clavinet work reminded him of gunfire. This track peaked at number 7 on the R&B charts, while reaching number 22 on the overall pop charts. Samples from the song were used prominently by the Beastie Boys in their 1989 song "Hey Ladies," and the song itself was featured on the soundtrack for the 1997 film Boogie Nights. In the late 1970s, the track was used as the theme to UK Sunday-morning-filler show about health How To Stay Alive, presented by Colin Welland,[citation needed] and in early 1980s the tune was also used as the opening theme of the New Zealand music show Ready to Roll.

 

[[scooter]]

#26. Yakety Sax - James Q. "Spider" Rich & Boots Randolph

"Yakety Sax" is a pop novelty instrumental jointly composed by James Q. "Spider" Rich and Boots Randolph. Saxophonist Randolph popularized the selection in his 1963 recording, which reached number 35 on the rock charts. UK comedian Benny Hill later made it more widely known as the closing theme music of The Benny Hill Show. The piece is considered Randolph's signature song.

The selection includes pieces of assorted fiddle tunes and was originally composed by Rich for a performance at a venue called The Armory in Hopkinsville, Kentucky. Two bars of "Entrance of the Gladiators" and "The Girl I Left Behind" are also worked into it.

Randolph's take on the piece was inspired by a sax solo in the Leiber and Stoller song "Yakety Yak", recorded in 1958 by the Coasters. The tunes are similar, and both feature the yakety sax sound. Randolph first recorded Yakety Sax that year for RCA Victor, but it did not become a hit till he re-recorded it for Monument Records in 1963; this version reached number 35 on the Billboard Hot 100 chart.

Yakety Sax is often used in television and film as a soundtrack for outlandishly humorous situations. It was frequently used to accompany comedic sketches—particularly the time-lapse, rapidly paced, silent "chase" skit, which came at the end of almost each episode of the Thames Television comedy programme The Benny Hill Show. Because of this, Yakety Sax is so closely linked to the series that it is also known as The Benny Hill Theme. On The Benny Hill Show, the music was performed by Ronnie Aldrich and His Orchestra.

This use of the piece, and the chase scenes themselves, have been parodied in many other movies and TV shows, including Get a Life, the 2006 American film V for Vendetta, in the 2015 Doctor Who episode "The Girl Who Died", and the animated TV shows The Simpsons, Family Guy, and South Park. The stop motion animated sketch comedy series Robot Chicken featured a brief sketch depicting Benny Hill's funeral (using dolls) where the attendees have a Benny Hill Show-type chase scene with many of the usual gags and a song similar to Yakety Sax. The theme was used during the 2012 Olympics beach volleyball event between sets (where rakers must rush to smooth out the court).

The song was originally released in 1958 under the name Randy Randolph.

The 1963 studio version can be heard here.

Guitarist Chet Atkins recorded a cover version in 1965 in which he played all the sax parts on a guitar. It was appropriately titled "Yakety Axe".

Atkins and Randolph were friends with each other and occasionally got together to perform a combined version of the song.

 

[Tom Skerritt]

The song was originally released in 1958 under the name Randy Randolph.

The 1963 studio version can be heard here.

Guitarist Chet Atkins recorded a cover version in 1965 in which he played all the sax parts on a guitar. It was appropriately titled "Yakety Axe".

Atkins and Randolph were friends with each other and occasionally got together to perform a combined version of the song.

And all of it inspired by Yakety Yak -The Coasters

 

[pecorino]

When I saw the title changed to read "Machine Gun," I assumed it was the epic Hendrix song (even though there are some words). Color me disappointed.

 

[Tom Skerritt]

When I saw the title changed to read "Machine Gun," I assumed it was the epic Hendrix song (even though there are some words). Color me disappointed.

Yep, a great song, but not an instrumental. Sorry to disappoint. 

 

[Maik Jeaunz]

I would just like to say thank you for this list. I know a lot of them (most?), but a few other finds on here. instrumentals are the perfect music to listen to while working, because your brain doesn't have to process language and can laser focus on the task at hand. so you're essentially building a 'working' playlist. 

curious if my favorite instrumental ever makes your top 5...

 

[Tom Skerritt]

#24. Eruption - Van Halen

"Eruption" is an instrumental rock guitar solo performed by Eddie Van Halen. It is widely considered one of the greatest guitar solos of all time. It segues into "You Really Got Me" on the album Van Halen, and the two songs are usually played together by radio stations. The song was also released as the b-side to the "Runnin' with the Devil" single.

"Eruption" starts with a short accompanied intro with Alex Van Halen on drums and Michael Anthony on bass. The highlight of the solo is the use of two-handed tapping. "Eruption" was played on the Frankenstrat, with a MXR Phase 90, an Echoplex, a Univox echo unit and a 1968 Marshall 1959 Super Lead tube amp. The Sunset Soundstudio reverb room was also used to add reverb. The Frankenstrat was tuned down a half-step. "Eruption" begins in the key of A flat and ends on an E flat note that is a twelfth fret, 6th string harmonic processed through a Univox EC-80 echo unit.

Initially, "Eruption" was not considered as a track for the Van Halen album as it was just a guitar solo Eddie performed live in the clubs. But Ted Templeman overheard it in the studio as Eddie was rehearsing it for a club date at the Whisky a Go Go and decided to include it on the album. Eddie recalled, "I didn't even play it right. There's a mistake at the top end of it. To this day, whenever I hear it, I always think, 'Man, I could've played it better.'"

 

[Tom Skerritt]

Other instrumental intro/solos that did not make the list...

Foreplay/Longtime - Boston

Funeral For A Friend/Love Lies Bleeding - Elton John

I love these songs. But decided only to include Eruption on my list. 

 

[zamboni]

#24. Eruption - Van Halen

"Eruption" is an instrumental rock guitar solo performed by Eddie Van Halen. It is widely considered one of the greatest guitar solos of all time. It segues into "You Really Got Me" on the album Van Halen, and the two songs are usually played together by radio stations. The song was also released as the b-side to the "Runnin' with the Devil" single.

"Eruption" starts with a short accompanied intro with Alex Van Halen on drums and Michael Anthony on bass. The highlight of the solo is the use of two-handed tapping. "Eruption" was played on the Frankenstrat, with a MXR Phase 90, an Echoplex, a Univox echo unit and a 1968 Marshall 1959 Super Lead tube amp. The Sunset Soundstudio reverb room was also used to add reverb. The Frankenstrat was tuned down a half-step. "Eruption" begins in the key of A flat and ends on an E flat note that is a twelfth fret, 6th string harmonic processed through a Univox EC-80 echo unit.

Initially, "Eruption" was not considered as a track for the Van Halen album as it was just a guitar solo Eddie performed live in the clubs. But Ted Templeman overheard it in the studio as Eddie was rehearsing it for a club date at the Whisky a Go Go and decided to include it on the album. Eddie recalled, "I didn't even play it right. There's a mistake at the top end of it. To this day, whenever I hear it, I always think, 'Man, I could've played it better.'"

Live 1976 version before the polished debut: https://www.youtube.com/watch?v=O9Puk4DyEfg

 

[Leroy Hoard]

I would just like to say thank you for this list. I know a lot of them (most?), but a few other finds on here. instrumentals are the perfect music to listen to while working, because your brain doesn't have to process language and can laser focus on the task at hand. so you're essentially building a 'working' playlist. 

Great point, and that also goes for a lot of a activities where you don't want too many distractions.

 

[Yenrub]

 

[Man of Constant Sorrow]

#25. Machine Gun - The Commodores

Machine Gun is the debut studio album by The Commodores, released on July 22, 1974, on Motown Records. Unlike subsequent Commodores albums, Machine Gun has only funk music and is devoid of slow-paced ballads.

The titular lead song has Milan Williams on clavinet, which led the Motown executive Berry Gordy to name the song "Machine Gun" as the clavinet work reminded him of gunfire. This track peaked at number 7 on the R&B charts, while reaching number 22 on the overall pop charts. Samples from the song were used prominently by the Beastie Boys in their 1989 song "Hey Ladies," and the song itself was featured on the soundtrack for the 1997 film Boogie Nights. In the late 1970s, the track was used as the theme to UK Sunday-morning-filler show about health How To Stay Alive, presented by Colin Welland,[citation needed] and in early 1980s the tune was also used as the opening theme of the New Zealand music show Ready to Roll.

I like this one - it's new to me. 

When I first saw the title, I hoped it would be an instrumental funk cover of the Jimi Hendrix Machine Gun. 

I am glad it wasn't, now. 

 

[Man of Constant Sorrow]

#24. Eruption - Van Halen

"Eruption" is an instrumental rock guitar solo performed by Eddie Van Halen. It is widely considered one of the greatest guitar solos of all time. It segues into "You Really Got Me" on the album Van Halen, and the two songs are usually played together by radio stations. The song was also released as the b-side to the "Runnin' with the Devil" single.

"Eruption" starts with a short accompanied intro with Alex Van Halen on drums and Michael Anthony on bass. The highlight of the solo is the use of two-handed tapping. "Eruption" was played on the Frankenstrat, with a MXR Phase 90, an Echoplex, a Univox echo unit and a 1968 Marshall 1959 Super Lead tube amp. The Sunset Soundstudio reverb room was also used to add reverb. The Frankenstrat was tuned down a half-step. "Eruption" begins in the key of A flat and ends on an E flat note that is a twelfth fret, 6th string harmonic processed through a Univox EC-80 echo unit.

Initially, "Eruption" was not considered as a track for the Van Halen album as it was just a guitar solo Eddie performed live in the clubs. But Ted Templeman overheard it in the studio as Eddie was rehearsing it for a club date at the Whisky a Go Go and decided to include it on the album. Eddie recalled, "I didn't even play it right. There's a mistake at the top end of it. To this day, whenever I hear it, I always think, 'Man, I could've played it better.'"

This always brings back great memories. 

I remember the very first time I heard this. It was on my parents' front porch - on my sister's Mickey Mouse phonograph.

A fellow KISS Army member told me that Gene Simmons had something to do with these guys. He then played me the album. 

I left the army soon after, but grew in my VH Fandom. 

 

[Tom Skerritt]

I like this one - it's new to me. 

When I first saw the title, I hoped it would be an instrumental funk cover of the Jimi Hendrix Machine Gun. 

I am glad it wasn't, now. 

I have had this one on my jogging playlist for some time now. It's a great tune to help me pick up the pace when out running.

 

[Tom Skerritt]

This always brings back great memories. 

I remember the very first time I heard this. It was on my parents' front porch - on my sister's Mickey Mouse phonograph.

A fellow KISS Army member told me that Gene Simmons had something to do with these guys. He then played me the album. 

I left the army soon after, but grew in my VH Fandom. 

Friend of mine grew up in LA in the 70s. He loves to tell me the story of seeing Van Halen play backyard parties before they were "Van Halen". In fact, it was this friend who played a gig at the Whisky-a-Go-Go last year, and I got to hang out backstage and onstage prior to the show. Was a cool moment for me.

 

[Tom Skerritt]

#23. Gonna Fly Now - Bill Conti

"Gonna Fly Now", a mostly instrumental song also known as "Theme from Rocky", is the theme song from the movie Rocky, composed by Bill Conti, and performed by DeEtta West and Nelson Pigford. Released in February 1977 with the movie Rocky, the song became part of American popular culture after main character Rocky Balboa as part of his daily training regimen runs up the 72 stone steps leading to the entrance of the Philadelphia Museum of Art in Philadelphia and raises his arms in a victory pose, while the song plays. The song was written in Philadelphia. The song is often played at sporting events, especially in Philadelphia.

The song was nominated for an Academy Award for Best Original Song in the 49th Academy Awards. The version of the song from the movie, performed by Conti with an orchestra, hit number one on the Billboard Hot 100 chart in 1977, while a version by jazz trumpeter Maynard Ferguson hit the top 30. Disco versions by Rhythm Heritage and Current were on the chart at the same time (Conti's own version reveals some early disco influence in the orchestration). Billboard ranked Conti's version as the No. 21 song of 1977. Conti's single was certified Gold by the RIAA, for shipments exceeding one million in the United States. The American Film Institute placed it 58th on its AFI's 100 Years...100 Songs list.

Due to its original use, the song (or a soundalike of it) is used frequently in various forms of popular media where a main character is forced to train hard in order to defeat an opponent, often during a montage sequence.

American politician and former Vice President Walter Mondale used "Gonna Fly Now" as his campaign song in 1984.

 

[Tom Skerritt]

#22. Feels So Good - Chuck Mangione

"Feels So Good" is the title of an instrumental composition by the American flugelhorn player Chuck Mangione. It was written and produced by Mangione, and is the title track from his 1977 album.

The album version of "Feels So Good" runs almost ten minutes, but an edited (3 min 28 sec) version was released as a single in early 1978, which reached #4 on the Billboard Hot 100 chart in June of that year after spending a week atop the Billboard easy listening chart in May. The recording was also nominated for a Grammy Award for Record of the Year at the ceremony held in 1979, losing out to Billy Joel's "Just the Way You Are". Mangione re-recorded the tune (as a slow ballad, and with lyrics sung by Don Potter) for his 1982 album 70 Miles Young.

Mangione was quoted describing the editing of the original version of the track as "major surgery."

Feels So Good (live version)

Uses in popular culture:

• Mangione appeared in a commercial for Memorex in 1979 performing "Feels So Good". Ella Fitzgerald, who became famous for Memorex commercials in 1970s, heard Mangione and musicians perform it, then it was played back for her. When she was asked "if it was live or it is Memorex?", Ella shrugged and said, "beats me!".
  
• It was also played at the beginning of the 2016 Marvel Studios film Doctor Strange. It is part of a "name that tune" musical challenge game they play while performing an operation. At one point it is commented "the man charted a top ten hit with a Flugelhorn".
  
• Mason Storm, as portrayed by Steven Seagal, enjoys listening to "Feels so Good" in his car in the 1990 action-thriller Hard to Kill.
  
• The composition was heard frequently in King of the Hill, including a running gag in which Mangione (who often guest starred on the show as himself) worked it into whatever he was playing.
  
• The song was featured in the Friends episode "The One with All the Haste", in which Joey and Chandler's unnamed neighbor can be heard singing made-up lyrics to the song in the morning.
  
• The song is played in the second episode of South Park's 19th season, "Where My Country Gone?", by Canadian students as a religious ritual performed with trumpets at 08:00 AM and at 11:00 while facing east.
  
• The song is played in the seventh episode of The Simpsons's 18th season, "Ice Cream of Margie (with the Light Blue Hair)" while Marge works in her sculptures.
  
• The song is played in the thirteenth episode of Family Guy's 7th season, "Stew-Roids" where Chris is dating Connie D'Amico and mentions seeing the film "Distracting Trumpets," in which Feels So Good plays in the background of a Godfather-esque meeting.
  

 

[falguy]

Hard not to think of the head slapping when I hear this song 

I used to think of Benny, now this

 

[[scooter]]

#22. Feels So Good - Chuck Mangione

Full album version

This song is embedded into my memories as part of the morning routine of my childhood. Every weekday, my parents had the radio tuned to a particular AM station, which always played "Feels So Good" at the same time every morning. I knew it was time to go to school when I heard those opening notes.

I always enjoyed Chuck's appearances on "King Of The Hill". So random.

 

[Tom Skerritt]

Full album version

This song is embedded into my memories as part of the morning routine of my childhood. Every weekday, my parents had the radio tuned to a particular AM station, which always played "Feels So Good" at the same time every morning. I knew it was time to go to school when I heard those opening notes.

I always enjoyed Chuck's appearances on "King Of The Hill". So random.

Totally with you on this. It just seemed like this song was always playing on the radio or some loudspeaker in every grocery store and shop everywhere in the late 70’s. 

 

[Tom Skerritt]

#21. Ride Of The Valkyries - Richard Wagner

The "Ride of the Valkyries" (German: Walkürenritt or Ritt der Walküren) refers to the beginning of act 3 of Die Walküre, the second of the four operas constituting Richard Wagner's Der Ring des Nibelungen.

As a separate piece, the "Ride" is often heard in a purely instrumental version, which may be as short as three minutes. Together with the "Bridal Chorus" from Lohengrin, the "Ride of the Valkyries" is one of Wagner's best-known pieces.

The main theme of the "Ride", the leitmotif labelled Walkürenritt, was first written down by the composer on 23 July 1851. The preliminary draft for the "Ride" was composed in 1854 as part of the composition of the entire opera, which was fully orchestrated by the end of the first quarter of 1856.

In the Walküre opera, the "Ride", which takes around eight minutes, begins in the prelude to the third act, building up successive layers of accompaniment until the curtain rises to reveal a mountain peak where four of the eight Valkyrie sisters of Brünnhildehave gathered in preparation for the transportation of fallen heroes to Valhalla. As they are joined by the other four, the familiar tune is carried by the orchestra, while, above it, the Valkyries greet each other and sing their battle-cry. Apart from the song of the Rhinemaidens in Das Rheingold, it is the only ensemble piece in the first three operas of Wagner's Ring cycle.

Uses in film include the original score for The Birth of a Nation (1915), and What's Opera, Doc? (1957).

The "Ride" features in Apocalypse Now (1979), where the 1/9 Air Cavalry squadron plays it on helicopter-mounted loudspeakers during their assault on a North Vietnamese-controlled village as psychological warfare and to motivate their own troops.

 

[Tom Skerritt]

#20. Scuttle Buttin' - Stevie Ray Vaughan

Couldn't Stand the Weather is the second studio album by American blues rock band Stevie Ray Vaughan and Double Trouble. It was released on May 15, 1984, by Epic Records as the follow-up to the band's critically and commercially successful 1983 album, Texas Flood. Recording sessions took place in January 1984 at the Power Station in New York City.

Stevie Ray Vaughan wrote half the tracks on Couldn't Stand the Weather. The album went to No. 31 on the Billboard 200 chart and the music video for "Couldn't Stand the Weather" received regular rotation on MTV. The album received mostly positive reviews, with AllMusic giving it a four out of five stars. It received praise for Vaughan’s playing and highlighted songs such as Voodoo Child and Tin Pan Ally, but received criticism for the lack of original songs and forgetability of some of the songs.

All songs were written by Stevie Ray Vaughan except where noted.

Side One

• "Scuttle Buttin'" (instrumental) – 1:52
  
• "Couldn't Stand The Weather" – 4:40
  
• "The Things (That) I Used to Do" (Eddie Jones) – 4:55
  
• "Voodoo Chile (Slight Return)" (Jimi Hendrix) – 8:01
  

Side Two

• "Cold Shot" (originally credited to Michael Kindred and W. C. Clark; later incorrectly credited to only Michael Kindred) – 4:01
  
• "Tin Pan Alley" (originally credited to Robert Geddins; later credited to James Reed) – 9:11
  
• "Honey Bee" – 2:42
  
• "Stang's Swang" (instrumental) – 2:46
  

On October 4, 1984, Vaughan headlined a performance at Carnegie Hall that included many guest musicians. For the second half of the concert, he added Jimmie as rhythm guitarist, drummer George Rains, keyboardist Dr. John, Roomful of Blues horn section, and featured vocalist Angela Strehli. The ensemble rehearsed for less than two weeks before the performance, and despite the solid dynamics of Double Trouble for the first half of the performance, according to Patoski and Crawford, the big band concept never entirely took form. Before arriving at the engagement, the venue sold out, which made Vaughan extremely excited and nervous as he did not calm down until halfway through the third song. A benefit for the T.J. Martell Foundation's work in leukemia and cancer research, he was an important draw for the event. As his scheduled time slot drew closer, he indicated that he preferred traveling to the venue by limousine to avoid being swarmed by fans on the street; the band took the stage around 8:00 p.m. The audience of 2,200 people, which included Vaughan's wife, family and friends, transformed the venue into what Stephen Holden of The New York Times described as "a whistling, stomping roadhouse".

Introduced by Hammond as "one of the greatest guitar players of all time", Vaughan opened with "Scuttle Buttin'", wearing a custom-made mariachi suit he described as a "Mexican tuxedo".

This song shows the influence Lonnie Mack had on Stevie Ray Vaughan, the fast chicken pickin' style that Stevie picked up came from listening to the first record he ever owned: "Wham!" by Lonnie Mack.

On the studio album version of this song Stevie uses mostly bends (string bends on the guitar) to play the main riff of this song, but when he performed the song live he used slides to play the main riff. Some claim that he did this to reduce strain on his fretting hand during tours.

 

[Tom Skerritt]

I've had the pleasure of seeing SRV live multiple times. Of those that I remember, I saw him once at a summer blues festival. I was underage, but my mother bought me several beers at this show. Ended up in the bathroom puking my guts out in the middle of show, and then kept the party rollin.  The other time I had floor seats when he opened for The Fabulous Thunderbirds and The Who on The Kids Are Alright tour.

The first time I saw SRV play behind his back and on top of his head... I was beyond amazed. I was much younger then, and the things that guy could do with a guitar were simply incredible.

 

[Tom Skerritt]

#19. The Streetbeater - Quincy Jones

"Sanford and Son Theme (The Streetbeater)" is the theme to the 1970s sitcom Sanford and Son. It was composed by Quincy Jones.

"The Streetbeater" was first released by A&M Records on Jones' 1973 album You've Got It Bad Girl and as a single from that album. It is also featured on his Greatest Hits album.

Although the piece itself only reached #294 and did not reach Billboard status for that year, it has maintained mainstream popularity, ranking 9th in a Rolling Stone Reader Poll of Television Themes Songs.

This is the theme song for the Red Foxx starring 1970s sitcom Sanford and Son. Quincy Jones penned the tune and the multi-Grammy winning producer recalled in a 2010 interview with Billboard magazine how he became involved with writing this show's music and his concerns about the casting of Foxx, who had a reputation as an extremely explicit comedian at that point in time. Said Jones: "Bud Yorkin came over my house around 1970 and he said we just bought the rights of a show from England called Steptoe and Son. Sanford and Son was taken from the English TV show. He said, 'I'd like you to write the theme for it.' I said, 'who's in it?' And he said Redd Foxx. I said, 'man, you can't put Redd Foxx on national TV [laughs]. I had worked with Redd Foxx 30 years before that at the Apollo. We used to do the Chitlin Circuit. I used to write this music for him to come out with. Yorkin said, 'No, it's gonna be a great great show. And it was. Foxx took his sense of humor and took it all the way to the top. I wrote that song in about 20 minutes too. We had four musicians, Recorded it in about 20 minutes. It's amazing. Looking back, it's a trip."

Although the song itself failed to chart, it has maintained mainstream popularity and is featured on Jones' greatest hits album. The tune has also regularly been referred to in popular culture. For instance, in the Simpsons episode, Trash of the Titans, the song appears in the scene where Ray Patterson is reinstated. This is a reference to a moment that occurred during a poorly attended Redd Foxx Vegas stand up show when he refused to perform to such a small audience. The tune is also JD and Turks favorite song in the sitcom Scrubs, and is most famously seen when Turk is first going out with Carla.

 

[Tom Skerritt]

#18. YYZ - Rush

"YYZ" (pronounced "Why-Why-Zed" in its native Canadian dialect) is an instrumental rock composition by Canadian rock band Rush, from their 1981 album Moving Pictures. It is one of the band's most popular pieces and a staple of the band's live performances. The live album Exit...Stage Left (1981) and the concert video recording A Show of Hands (1989) both include versions in which Neil Peart incorporates a drum solo; as an interlude on the former, and as a segue out of the piece on the latter.

YYZ is the IATA airport identification code of Toronto Pearson International Airport, near Rush's hometown. The band was introduced to the rhythm as Alex Lifeson flew them into the airport. A VHF omnidirectional range system at the airport broadcasts the YYZ identifier code in Morse code. Peart said in interviews later that the rhythm stuck with them. Peart and Geddy Lee have both said "It's always a happy day when YYZ appears on our luggage tags."

The piece's introduction, played in a time signature of 10/8, repeatedly renders "Y-Y-Z" in Morse Code using various musical arrangements.

"YYZ" was nominated for a Grammy in the Best Rock Instrumental category in 1982. It lost to "Behind My Camel" by The Police, from their album Zenyatta Mondatta.

 

[zamboni]

"YYZ" was nominated for a Grammy in the Best Rock Instrumental category in 1982. It lost to "Behind My Camel" by The Police, from their album Zenyatta Mondatta.

Big Police fan, but that’s just wrong on so many levels.

As for Rush instrumentals, I actually prefer La Villa Strangiato more.

 

[Leroy Hoard]

Big Police fan, but that’s just wrong on so many levels.

As for Rush instrumentals, I actually prefer La Villa Strangiato more.

Grammys might be the biggest embarrassment of all the major awards shows. 

 

[Tom Skerritt]

Big Police fan, but that’s just wrong on so many levels.

As for Rush instrumentals, I actually prefer La Villa Strangiato more.

I considered that song. But to me, this is similar to Booker T and the MGs with Time Is Tight and Green Onions. The other song is a great song, but this one is just a classic. But I hear you man.

 

[Tom Skerritt]

#17. Wipeout - The Surfaris

"Wipe Out" is an instrumental composed by Bob Berryhill, Pat Connolly, Jim Fuller and Ron Wilson. It is a twelve-bar blues first performed and recorded by The Surfaris, who were elevated to international status with the release of the "Surfer Joe" and "Wipe Out" single in 1963.

The single was first issued on the tiny DFS label (#11/12) in January 1963. It was reissued on the tiny Princess label (#50) in February 1963, and finally picked up for national distribution on Dot as 45-16479 in April 1963. Dot reissued the single in April 1965 as 45-144.

The song – both the Surfaris' version as well as cover versions – has been featured in over 20 films and television series since 1964, appearing at least once a decade.[better source needed]

The term wipe out refers to a fall from a surfboard, especially one that looks painful.

Bob Berryhill, Pat Connolly, Jim Fuller and Ron Wilson wrote the song almost on the spot while at Pal Recording Studio in Cucamonga, California in late 1962, needing a suitable B-side for the intended "Surfer Joe" single. One of the band members suggested introducing the song with a cracking sound, imitating a breaking surfboard, followed by a manic voice babbling, "ha ha ha ha ha, wipe out". The voice was that of band's manager, Dale Smallin. "Wipe Out" is based on the 1959 song "Bongo Rock" by Preston Epps.

The afterthought track spent four months on the Billboard Hot 100 chart in the autumn of 1963, reaching #2 but kept out of the top slot only by Stevie Wonder's "Fingertips". The song returned to the Hot 100 in 1966, reaching #16 (and #63 for the year), and peaked at #9 on the Cash Box chart. The 1966 reissue sold approximately 700,000 copies in the U.S..Meanwhile, the original A-side "Surfer Joe", sung by Ron Wilson, only attracted airplay in the wake of "Wipe Out"'s success, and peaked at #62 during its six-week run. Wilson's energetic drum solo for "Wipe Out" (a sped-up version of his Charter Oak High School marching band's drum cadence) helped the song become one of the best-remembered instrumental songs of the period. Drummer Sandy Nelson issued different versions on multiple LPs. In 1970, "Wipe Out" peaked at #110 in the Bubbling Under Hot 100 Singles chart. The single spent a grand total of 30 weeks on the Hot 100.

 

[pecorino]

I considered that song. But to me, this is similar to Booker T and the MGs with Time Is Tight and Green Onions. The other song is a great song, but this one is just a classic. But I hear you man.

You cannot go wrong with YYZ or La Villa Strangiato. I'd also put "Where's My Thing?" just below them, in tier two--it doesn't quite get the respect it deserves.

 

[pecorino]

So many good to great songs in the past ten picks or so. The momentum is definitely building. If Beethoven's Fifth doesn't take it all, though, I'm writing a stern letter.

 

[Tom Skerritt]

#16. Moby **** - Led Zeppelin (studio version)

Live version

"Moby ****" is an instrumental tune and drum solo by English rock band Led Zeppelin, featured on their 1969 album Led Zeppelin II. Named after the whale in the novel Moby-**** by Herman Melville, it was also known by the alternate titles "Pat's Delight" (early 1968–1969 version with completely different guitar riff) and "Over the Top" (with "Out on the Tiles" intro section and original closing reprise) during various points of the band's career.

The tune emerged after Led Zeppelin guitarist and producer Jimmy Page would often catch drummer John Bonham jamming in the studio, recorded parts of it and then pieced it all together. Only Page and bassist John Paul Jones play the tune's Drop-D blues-based riff with Bonham's drums—as a power trio—at the very beginning and the very end of the tune, leaving the remainder open for Bonham alone. The structure of the main riff is that of the twelve-bar blues. Singer Robert Plant did not sing at all and in concert would simply introduce Bonham to the audience before the tune started. Studio outtakes from the Led Zeppelin II sessions reveal that the drum solo recorded was edited down from a much longer version.

The guitar riff can be traced back to the BBC unused session track "The Girl I Love She Got Long Black Wavy Hair" which was recorded in the summer of 1969. The riff is also similar to that of Bobby Parker's 1961 single, "Watch Your Step", although the progression is in a different key and tempo. John Lennon also admitted the same Parker riff had been a big influence on the Beatles' 1964 single "I Feel Fine". It was also used as the basis for the opening/chorus riff of Deep Purple's "Rat Bat Blue", from Who Do We Think We Are in 1973 and The Allman Brothers cover of "One Way Out" in 1972. Page's riff was used as the theme to BBC Two's Disco 2 rock show.

Bonham's drum solo was often played at Led Zeppelin concerts from the first North American tour in November 1968, being his solo performance showcase on concert tours through 1977. Over this period it went through three different name changes. During their early 1968–1969 tours it was known as "Pat's Delight" (a reference to Bonham's wife), from 1969–1975 it was "Moby ****" and during Led Zeppelin's 1977 North American Tour it was "Over the Top" as the solo began with the opening riff to "Out on the Tiles" before segueing into a lengthy drum solo (in the same time ending with a "Moby ****" riff). The last time "Moby ****" was played by Led Zeppelin was on 17 July 1977 at the Seattle Kingdome and can be found on various audio and video bootleg recordings.

When played live, Bonham's drum solo would last as little as 6 minutes or, more frequently, as long as 30 minutes, while the rest of the band would leave the stage after having played the introduction. During the performance Bonham would often set aside or throw his drumsticks into the audience and then continue the solo with his hands (sometimes drawing blood as a result).

 

[[scooter]]

#16. Moby **** - Led Zeppelin (studio version)

Live version

"Moby ****" is an instrumental tune and drum solo by English rock band Led Zeppelin, featured on their 1969 album Led Zeppelin II. Named after the whale in the novel Moby-**** by Herman Melville, it was also known by the alternate titles "Pat's Delight" (early 1968–1969 version with completely different guitar riff) and "Over the Top" (with "Out on the Tiles" intro section and original closing reprise) during various points of the band's career.

The tune emerged after Led Zeppelin guitarist and producer Jimmy Page would often catch drummer John Bonham jamming in the studio, recorded parts of it and then pieced it all together. Only Page and bassist John Paul Jones play the tune's Drop-D blues-based riff with Bonham's drums—as a power trio—at the very beginning and the very end of the tune, leaving the remainder open for Bonham alone. The structure of the main riff is that of the twelve-bar blues. Singer Robert Plant did not sing at all and in concert would simply introduce Bonham to the audience before the tune started. Studio outtakes from the Led Zeppelin II sessions reveal that the drum solo recorded was edited down from a much longer version.

The guitar riff can be traced back to the BBC unused session track "The Girl I Love She Got Long Black Wavy Hair" which was recorded in the summer of 1969. The riff is also similar to that of Bobby Parker's 1961 single, "Watch Your Step", although the progression is in a different key and tempo. John Lennon also admitted the same Parker riff had been a big influence on the Beatles' 1964 single "I Feel Fine". It was also used as the basis for the opening/chorus riff of Deep Purple's "Rat Bat Blue", from Who Do We Think We Are in 1973 and The Allman Brothers cover of "One Way Out" in 1972. Page's riff was used as the theme to BBC Two's Disco 2 rock show.

Bonham's drum solo was often played at Led Zeppelin concerts from the first North American tour in November 1968, being his solo performance showcase on concert tours through 1977. Over this period it went through three different name changes. During their early 1968–1969 tours it was known as "Pat's Delight" (a reference to Bonham's wife), from 1969–1975 it was "Moby ****" and during Led Zeppelin's 1977 North American Tour it was "Over the Top" as the solo began with the opening riff to "Out on the Tiles" before segueing into a lengthy drum solo (in the same time ending with a "Moby ****" riff). The last time "Moby ****" was played by Led Zeppelin was on 17 July 1977 at the Seattle Kingdome and can be found on various audio and video bootleg recordings.

When played live, Bonham's drum solo would last as little as 6 minutes or, more frequently, as long as 30 minutes, while the rest of the band would leave the stage after having played the introduction. During the performance Bonham would often set aside or throw his drumsticks into the audience and then continue the solo with his hands (sometimes drawing blood as a result).

Love Bonham. He's like the King Midas of the drums -- every song he touches turns to (Acapulco) gold.

Here is the original unedited studio recording of the song, with a 7 minute drum solo

Here is "Pat's Delight" (the precursor to "Moby ****") (wish they would have saved that riff for a song!)

Here is Bobby Parker's "Watch Your Step"

One of my favorite covers of "Moby ****" is Dread Zeppelin's reggae version, where the lead singer (an Elvis impersonator) starts reading passages from the original Melville classic. Hot damn tamale, Ahab!

 

[Mr. Mojo]

#17. Wipeout - The Surfaris

"Wipe Out" is an instrumental composed by Bob Berryhill, Pat Connolly, Jim Fuller and Ron Wilson. It is a twelve-bar blues first performed and recorded by The Surfaris, who were elevated to international status with the release of the "Surfer Joe" and "Wipe Out" single in 1963.

The single was first issued on the tiny DFS label (#11/12) in January 1963. It was reissued on the tiny Princess label (#50) in February 1963, and finally picked up for national distribution on Dot as 45-16479 in April 1963. Dot reissued the single in April 1965 as 45-144.

The song – both the Surfaris' version as well as cover versions – has been featured in over 20 films and television series since 1964, appearing at least once a decade.[better source needed]

The term wipe out refers to a fall from a surfboard, especially one that looks painful.

Bob Berryhill, Pat Connolly, Jim Fuller and Ron Wilson wrote the song almost on the spot while at Pal Recording Studio in Cucamonga, California in late 1962, needing a suitable B-side for the intended "Surfer Joe" single. One of the band members suggested introducing the song with a cracking sound, imitating a breaking surfboard, followed by a manic voice babbling, "ha ha ha ha ha, wipe out". The voice was that of band's manager, Dale Smallin. "Wipe Out" is based on the 1959 song "Bongo Rock" by Preston Epps.

The afterthought track spent four months on the Billboard Hot 100 chart in the autumn of 1963, reaching #2 but kept out of the top slot only by Stevie Wonder's "Fingertips". The song returned to the Hot 100 in 1966, reaching #16 (and #63 for the year), and peaked at #9 on the Cash Box chart. The 1966 reissue sold approximately 700,000 copies in the U.S..Meanwhile, the original A-side "Surfer Joe", sung by Ron Wilson, only attracted airplay in the wake of "Wipe Out"'s success, and peaked at #62 during its six-week run. Wilson's energetic drum solo for "Wipe Out" (a sped-up version of his Charter Oak High School marching band's drum cadence) helped the song become one of the best-remembered instrumental songs of the period. Drummer Sandy Nelson issued different versions on multiple LPs. In 1970, "Wipe Out" peaked at #110 in the Bubbling Under Hot 100 Singles chart. The single spent a grand total of 30 weeks on the Hot 100.

Just thinking about this song makes me hear bongo drums in my head. 

 

[Tom Skerritt]

#15. Axel F - Harold Faltermeyer

"Axel F" is the electronic instrumental theme from the 1984 film Beverly Hills Cop performed by Harold Faltermeyer. It was an international number 1 hit in 1985.

The title comes from the main character's name, Axel Foley (played by Eddie Murphy), in the film. It is composed in the key of F minor.

Faltermeyer recorded the song using five instruments: a Roland Jupiter-8 provided the distinctive "supersaw" lead sound, a Moog modular synthesizer 15 provided the bass, a Roland JX-3P provided chord stabs, a Yamaha DX7 was used for bell and vibraphone sounds and a LinnDrum was used for drum programming.

According to Faltermeyer, the initial reaction to his premiere presentation of the cues to the film's producers and director didn't result in an immediate approval; it wasn't until director Martin Brest voiced his approval that the producers showed enthusiasm.

In addition to the Beverly Hills Cop soundtrack, the song also appears on Faltermeyer's 1988 album Harold F. as a bonus track. Reportedly, Faltermeyer was against including it, but MCA insisted as it was his most recognizable track.

Anyone who played a musical instrument in 1985 learned how to play this song. And we also played this song as high school band.

 

[Tom Skerritt]

#14. Dueling Banjos - Eric Weissberg & Steve Mandell

"Dueling Banjos" is an instrumental composition by Arthur "Guitar Boogie" Smith. The song was composed in 1954 by Smith as a banjo instrumental he called "Feudin' Banjos," which contained riffs from "Yankee Doodle." Smith recorded it in 1955 playing a four-string plectrum banjo and accompanied by five-string bluegrass banjo player Don Reno. The composition's first wide-scale airing was on a 1963 television episode of The Andy Griffith Show called "Briscoe Declares for Aunt Bee," in which it is played by visiting musical family the Darlings (played by The Dillards, a bluegrass group) along with Griffith himself.

The song was made famous by the 1972 film Deliverance, which also led to a successful lawsuit by the song's composer, as it was used in the film without Smith's permission. The film version was arranged and recorded by Eric Weissberg and Steve Mandell, but only credited to Weissberg on a single subsequently issued in December 1972. It went to #2 for four weeks on the Billboard Hot 100 in 1973, all four weeks behind Roberta Flack's "Killing Me Softly with His Song," and topped the adult contemporary chart for two weeks the same year. It reached #1 for one week on both the Cashbox and Record World pop charts. The song also reached No. 5 on the Hot Country Singles chart at the same time it was on the Hot 100 and Adult Contemporary Singles charts. It was also nominated for the 30th Golden Globe Awards in the Best Original Song category.

In Deliverance, a scene depicts Billy Redden playing it opposite Ronny Cox, who joins him on guitar. Redden plays "Lonnie," a mentally challenged and inbred, but extremely gifted, banjo player. Redden could not actually play the banjo and the director thought his hand movements looked unconvincing. A local musician, Mike Addis, was brought in to depict the movement of the boy's left hand. Addis hid behind Redden, with his left arm in Redden's shirt sleeve. Careful camera angles kept Addis out of frame and completed the illusion, though anyone familiar with bluegrass banjo playing can see that the left-hand movements do not match up with the music produced, and that the banjo being used (an open-back instrument) could never produce the music one hears (clearly from a resonator banjo). The music itself was dubbed in from the recording made by Weissberg and Mandell and was not played by the actors themselves. Two young musicians, Ron Brentano and Mike Russo, had originally been signed to play their adaptation for the film, but instead it was performed by Weissberg and Mandell.

"Dueling Banjos" was arranged and performed for the film by Eric Weissberg and Steve Mandell and was included on its soundtrack. When Arthur "Boogie" Smith was not acknowledged as the composer by the filmmakers, he sued and eventually won, receiving songwriting credit as well as royalties.

Original Don Reno & Arthur Smith version