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Each season used a different artist's recording of the song - from Steve Earle to The Neville Brothers - which made the theme an event in itself. It seemed incongruous in a show dominated by gangs and urban American music, but its opening line - "When you walk through the garden/you gotta watch your back" - was a perfect summation of what was to come. The most intriguing non-original theme tune of recent times, however, is surely Way Down in the Hole, a blues track taken from Tom Waits's 1987 album Franks Wild Years and used to spectacular effect in The Wire's opening sequences. But Woke Up this Morning - with its refrain "You woke up this morning/Got yourself a gun" - was heard by The Sopranos producer David Chase on the radio, and the rest was history. The British country/dance band Alabama 3 were probably as surprised as anyone else when representatives from a new gangster drama came calling. Only the most enthusiastic of hip-hop fans worked out that the evocative title music to the mid-20th century period drama Mad Men was actually the instrumental version of RJD2's 2006 track A Beautiful Mine.
#Glen a. larson knight rider theme song series#
Classic American drama series are adept at bringing to our attention unearthed gems that expertly tie in with the feel of a show. So if non-original music must be used, it's best to pluck it from obscurity. So the original theme for the otherwise impeccable US medical drama House - Massive Attack's Teardrop - was a little irritating, not least because this brooding epic seems to have been used as a backdrop for every other dramatic moment on American television. Choose a song that's too well known - which is the temptation, clearly - and it just seems a little bit lazy. Naturally, it's easy to assume that the latter process is much more straightforward. And then there are the tracks, like Thank You for Being a Friend, plucked from existing music libraries because they seem to fit the spirit of a show.
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The ones composed specifically for the programme - such as the marching-band brilliance of Mike Post and Pete Carpenter's The A Team, or Mark Snow's spookily haunting composition for The X Files. Of course, there are two types of theme tunes. It just needs to be attached to a popular television show. Proof, then, that writing a timeless hit doesn't necessarily need endless promotion or radio play. So why did it make him a fortune? Because it was immortalised as the theme tune for the famous 1980s American sitcom, The Golden Girls, although the version on the show wasn't even sung by Gold, but Cynthia Fee. Onstage, he used to call it his accountant's favourite song, and he freely admitted that it took him only an hour to write. But Gold will forever be fondly remembered for writing Thank You for Being a Friend. A recent successful TV-movie revival of Knight Rider carried his executive producer credit.īesides the Springfield theme music for The Six Million Dollar Man, Larson is also credited with composing or co-composing the themes to most of the shows he has produced, including the song "Suspension" from Buck Rogers, the iconic Knight Rider theme, the majestic Battlestar Galactica theme (which is also heard in the 2000s version of the series as the Colonial Anthem) and the song "The Unknown Stuntman" which Lee Majors sings at the start of every Fall Guy episode.When the American singer-songwriter Andrew Gold died last week, every obituary noted his 1977 hit Lonely Boy and his work with Linda Ronstadt. Larson's many other producing credits include: The Men from Shiloh - the continuation series of The Virginian that co-starred Lee Majors, It Takes a Thief, Alias Smith and Jones, Switch, McCloud, Quincy M.E., The Hardy Boys/Nancy Drew Mysteries, the original Battlestar Galactica (he served as consulting producer on the 2000s reimagining), Buck Rogers in the 25th Century, Magnum PI, Knight Rider and the later Lee Majors series, The Fall Guy. Larson also co-wrote the "Six Million Dollar Man" theme song that was performed in both telefilms by Dusty Springfield. But this failed to work as well as planned, and when a new producing regime took over for the weekly series, a different approach was taken. These films were marked by a concerted effort to cast the character of Steve Austin in a James Bond-like role. Larson served as executive producer of the second and third The Six Million Dollar Man pilot telefilms ( Wine, Women and War (which he also wrote) and The Solid Gold Kidnapping). Larson (often credited without the initial, which stands for "Albert") is a proliific American television producer, script writer, and occasional composer/songwriter who has been a mainstay of the television industry since the early 1970s. The date when this photograph was taken is unknown.