Classic Pop’s Top 20 TV Theme

Popular television shows often came packaged up with a memorable title tune, and some even crossed over into the pop charts, as our Top 20 TV Themes confirms.
Words by Barry Page

Just like a stellar pop song has the evocative power of taking us back to a particular time in our lives, a great TV theme can have an equally transportative effect.

While occasionally straying outside of the decade’s parameters, we return to the 80s and a golden era of television when just a handful of domestic channels existed, a pre-streaming technicolour landscape where catch-up TV meant playing back our favourite shows on our video recorders (if you could afford them, that is, and if the tape didn’t get chewed up).

Often central to the viewing experience – which was an event for many in those halcyon days – was a theme that set both the mood and tone.

20 The Equalizer – Stewart Copeland: Busy Equalizing (1987)

Prior to the dissolution of The Police, self-proclaimed rhythmatist Stewart Copeland had already commenced a career as a composer for hire. His debut score for Francis Ford Coppola’s Rumble Fish immediately singled him out, earning a Golden Globe nomination. One of his first noteworthy TV soundtracks was The Equalizer, which originally starred Edward Woodward as the vigilante Robert McCall. Copeland supplied both the theme and the score, and even made a cameo as a pickpocket.

19 Star Fleet – Brian May + Friends: Star Fleet (1983)

With English dubbing and a new synth-heavy score by Paul Bliss, Star Fleet was a Westernised revamp of Japanese sci-fi series X-Bomber, whose puppetry had attracted Gerry Anderson comparisons. The show was first aired on ITV in 1982 and soon became a hit with young viewers, one of whom was Brian May’s son. The legendary Queen guitarist – who’d penned the title song of Flash Gordon – was drawn to the show and its theme, which he later recorded with guests including Eddie Van Halen.

18 Street Hawk – Tangerine Dream: Streethawk (1985)

Starring ex-teen idol Rex Smith as motorcycling crimefighter Jesse Mach, Street Hawk failed to capitalise on the popularity of action shows like Knight Rider and ended after just one season. Very much of its era, the electronic score now sounds like generic video game music, but it was actually created by kosmische musik legends Tangerine Dream. Their concept album, Le Parc – its titles named after worldwide parks and gardens – included a new arrangement of the theme and doubled up as the title cut.

17 Top Of The Pops – Paul Hardcastle: The Wizard (1986)

Once he’d reached N-N-N-No.1 with 19, electro-funk pioneer Paul Hardcastle suddenly found himself in high demand as both a producer (Phil Lynott) and remixer (Ian Dury, Five Star), while further work arrived in the form of a commission to create a new theme for Top Of The Pops. Armed with a new Synclavier that apparently cost as much as his house, Hardcastle cut The Wizard at a moment’s notice, but the Beeb – fearful of accusations of self-promotion – showed their gratitude by refusing to play it on the radio!

16 The Secret Diary Of Adrian Mole, Aged 13 ¾ – Ian Dury: Profoundly In Love With Pandora (1985)

A small-screen adaptation of Sue Townsend’s bestseller about a teenage misfit and his dysfunctional family, The Secret Diary Of Adrian Mole began airing on ITV in 1985. The archetypal diary of a wimpy kid, the book’s themes resonated with both pre- and post-pubescent readers, and translated well to TV. Effortlessly tapping into Mole’s psyche was punk poet Ian Dury, who penned the theme with his Blockhead co-writer Chaz Jankel.

15 Big Deal – Bobby G: Big Deal (1984)

Occupying similar dramatic terrain to Minder, Big Deal starred Ray Brooks (who’d notably narrated cult cartoon Mr Benn) as hapless gambler Robbie Box and Sharon Duce as his long-suffering girlfriend. Its theme was written, performed and produced by Bucks Fizz’s Bobby Gee, who was then taking tentative steps as a solo artist as the Eurovision stars’ hits were drying up. Unfortunately, it missed the Top 40 – his bad luck continued when he was injured in an road accident that landed co-vocalist Mike Nolan in a coma.

14 Auf Wiedersehen, Pet – Joe Fagin: Breakin’ Away/That’s Livin’ Alright (1983)

Chronicling the labours and booze-drenched adventures of seven British construction workers overseas, Auf Wiedersehen, Pet was a staple of British TV in the mid-80s and made screen stars of the likes of Jimmy Nail and Timothy Spall. Such was its popularity, this double A-sided single by Liverpudlian singer Joe Fagin – pairing with Series One’s bookending themes – rose to UK No.3, with the rousing That’s Livin’ Alright earning a coveted spot on Now II.

13 Boon – Jim Diamond: Hi Ho Silver (1986)

Jim Diamond first came to prominence in the early 80s as one third of I Won’t Let You Down hitmakers Ph.D., but later reached the chart summit solo with I Should Have Known Better. He struggled to build on this success, until an invitation to record the theme for Boon – starring Michael Elphick as a fireman-turned-troubleshooter – gave Diamond a UK Top 10 hit. While there was some lyrical correlation with the series’ titular character, the reggae-tinged track was in fact a tribute to the Scottish singer’s firefighting father.

12 Minder – Dennis Waterman: I Could Be So Good For You (1979)

By the time Minder was first broadcast, Dennis Waterman was a household name courtesy of crime drama The Sweeney. Starring George Cole as dodgy dealer Arthur Daley and Waterman as ex-con-turned-bodyguard Terry McCann, Minder endured a sluggish start, as did its theme. Eventually rising to No.3, the Ivor Novello-winning singalong reportedly began life as a throwaway B-side, with its co-writer Gerard Kenney stating it was knocked off in just 25 minutes.

11 Robin Of Sherwood – Clannad: Robin (The Hooded Man) (1984)

Having experimented with a Prophet-5 on their hit theme for Harry’s Game, Clannad continued to upset the Irish folk purists by flirting with electronics on their soundtrack for Robin Of Sherwood, which spawned this single. Arguably the most authentic rendering of the Robin Hood legend, the show first aired on ITV in 1984, and its stars – including Michael Praed and Ray Winstone – have recently been celebrating its 40th anniversary.

10 Brush Strokes – Dexys Midnight Runners: Because Of You (1986)

From the creators of The Good Life and Ever Decreasing Circles came Brush Strokes, with Karl Howman as Jacko and Gary Waldhorn as the jocular painter and decorator’s overbearing boss. Characterised by Helen O’Hara’s exemplary fiddle and an unusually languid vocal from Kevin Rowland, the theme reignited their fortunes, but they were already on the cusp of a split. On the B-side was Irish folk song Kathleen Mavourneen, an idea they’d revisit on Dexys’ second reunion LP in 2016.

09 Tour De France – Pete Shelley: Give It To Me (1984)

Following Buzzcocks’ 1981 split, electronics enthusiast Pete Shelley endured a shaky start to his solo career when the title track of his Martin Rushent-produced Homosapien LP received a BBC ban – now lauded as an LGBT anthem. Another major milestone came via his electro-pop theme for Channel 4’s Tour de France coverage (presumably Kraftwerk were too expensive), that could be traced to obscure B-side Give It To Me. Later versions came under the Zip moniker, while a reformed Buzzcocks also put their spin on it.

08 Arena – Brian Eno: Another Green World (1975)

Recuperating in hospital after absent-mindedly stepping in front of a taxi, Roxy Music co-founder Brian Eno had something of an epiphany whilst listening to 18th century harp pieces on low volume, and began to formulate the idea of ambient music. His first LP to showcase a more minimalist approach was Another Green World, whose ephemeral title cut was used by the BBC as the theme for their flagship arts show, Arena. Nearly 50 years on, the iconic title sequence, in which a bottle floats on the ocean, remains unchanged.

07 Top Of The Pops – Philip Lynott: Yellow Pearl (Remix) (1980)

Yellow Pearl began life as a synth motif Midge Ure had played in soundchecks during Thin Lizzy’s 1979 tour, before evolving into a Phil Lynott solo single. It flopped, but caught the ear of Top Of The Pops producer Michael Hurll, who needed a futuristic theme to accompany a new title sequence (the one with the flying records) for TOTP’s 1981 revamp. Rather than recording a fresh track, the single was remixed, and for over five years it remained as the show’s theme, helping Midge to pay off his mortgage in the process.

06 Moonlighting – Al Jarreau: Moonlighting (Theme) (1987)

Comedrama or dramedy? However you wanted to categorise it, Moonlighting – starring Cybill Shepherd and Bruce Willis as mismatched private detectives – wasn’t just a huge hit with viewers, its screwball comedy and laser-focused cultural detail also wooed the critics. It also catapulted a then-unknown Willis to superstardom. The soundtrack included a cut from Willis, and a Nile Rodgers-helmed version of Al Jarreau’s classy theme song, that hit big in the UK and US.

05 Making Out – New Order: Vanishing Point (1989)

No strangers to soundtrack work, New Order had already cut the theme for football chat show Best And Marsh prior to a commission to provide music for BBC factory floor drama Making Out. Since the band were beginning to fracture during sessions for Technique, Gillian Gilbert and Stephen Morris did much of the heavy lifting, creating both the score and the theme, essentially an instrumental version of album standout Vanishing Point. It appears on the Round And Round CD single.

04 The Clothes Show – Pet Shop Boys: In The Night (1986)

Originally the flipside of flop 1985 single Opportunities, this heavily Bobby Orlando-influenced cut utilised a similar chord sequence to its yuppie-baiting A-side, and referenced les Zazous, an anti-fascist youth movement of French origin. By 1987, the Pet Shop Boys were regulars in the charts, and an instrumental section from Arthur Baker’s remix was utilised as the new theme of pioneering fashion programme The Clothes Show, displacing a mix of Five Star’s Find The Time. The duo revamped the track in 1995.

03 Miami Vice – Jan Hammer: Miami Vice Theme (1985)

Starring Don Johnson and Philip Michael Thomas as drug-busting cops, Miami Vice was revered for both its stylish cinematography and contemporary pop soundtrack, while its adrenaline-fuelled theme song earned Jan Hammer a US No.1 and two Grammys. The Prague-born musician also wrote the score for 90 episodes, with leitmotif Crockett’s Theme reaching UK No.2 in 1987. According to Edgar Froese, Tangerine Dream had originally been in the frame to supply the music, but their work on Street Hawk precluded them.

02 Twin Peaks – Angelo Badalamenti: Theme From Twin Peaks (1990)

Following their successful union on Blue Velvet, visionary director David Lynch and composer Angelo Badalamenti reunited for an album by breathy singer Julee Cruise, whose track Mysteries Of Love had featured in the 1986 movie. During the making of dream-pop classic Floating Into The Night, Lynch was concurrently devising the TV series Northwest Passage – later Twin Peaks – and selected an instrumental version of Falling to be its theme. It earned Badalamenti a Grammy, while Cruise’s haunting version climbed to UK No.7.

01 Doctor Who – BBC Radiophonic Workshop: Doctor Who (1964)

Since Doctor Who’s first aired in 1963, 15 incarnations of the Time Lord from Gallifrey have come and gone, as well as countless companions. The long-running sci-fi show is now an institution, with the image of viewers heading for the backs of their sofas after seeing the pepper pot-shaped Daleks still firmly ingrained in popular culture. Its innovative theme has attained iconic status, too, while its musical impact is immeasurable. From Pink Floyd to The Human League, The KLF and Orbital, numerous artists have been touched by its greatness.

An audacious interpretation of Australian composer Ron Grainer’s original score, it was initially created in a Maida Vale lab by the BBC Radiophonic Workshop, whose resident genius Delia Derbyshire utilised painstaking techniques to create the otherworldly piece we know today. Writing for The Guardian, Her former colleague Brian Hodgson elaborated: “It was a world without synthesizers, samplers and multi-track tape recorders; Delia, assisted by her engineer Dick Mills, had to create each sound from scratch. She used concrete sources and sine- and square-wave oscillators, tuning the results, filtering and treating, cutting so that the joins were seamless, combining sound on individual tape recorders, re-recording the results, and repeating the process, over and over again.”

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