Back in Time Today
TV theme songs often become part of our cultural fabric, playing in our heads years after shows end. What many viewers don’t realize is that numerous beloved intros were created by chart-topping musicians. Before streaming services made skipping intros common, these musical moments set the tone for our favorite programs and showcased surprising talents from established artists.
1. The Rembrandts’ ‘I’ll Be There for You’ (Friends)
Before becoming the soundtrack to millions of coffee-shop hangouts, The Rembrandts were an established alt-pop duo with moderate success. Their catchy Friends theme wasn’t initially released as a single until radio stations began recording and looping the short TV version. The band eventually recorded a full-length version that rocketed to #17 on Billboard’s Hot 100. What started as a quick studio gig became their defining legacy, overshadowing their previous work.
2. Joe Cocker’s Soulful Beatles Cover (The Wonder Years)
Rock legend Joe Cocker’s raspy, emotional rendition of “With a Little Help from My Friends” perfectly captured the nostalgic yearning of The Wonder Years. Originally a lighthearted Beatles tune, Cocker transformed it into something deeper at Woodstock in 1969. Years later, this reimagined version found new life as the opening to a show about childhood memories. Cocker’s passionate vocals embodied the bittersweet feeling of looking back at simpler times.
3. Ja’Net DuBois’ Uplifting Anthem (The Jeffersons)
Already known for playing Willona Woods on Good Times, Ja’Net DuBois showcased her musical talents by co-writing and performing “Movin’ On Up.” Her gospel-influenced vocals perfectly complemented lyrics about finally achieving success after years of struggle. Few viewers realized the actress they knew from one sitcom was the voice behind another show’s iconic theme. The song’s aspirational message about moving to a “deluxe apartment in the sky” resonated with audiences chasing their own American Dream.
4. Cynthia Fee’s Friendship Tribute (The Golden Girls)
Andrew Gold wrote and recorded “Thank You for Being a Friend” as a modest hit in 1978, but session vocalist Cynthia Fee made it immortal. Her version, recorded specifically for The Golden Girls, brought warmth and sincerity to lyrics about enduring friendship. Fee remained largely anonymous despite singing one of television’s most recognizable themes. Her career flourished behind the scenes, lending her voice to countless commercial jingles and background vocals while her Golden Girls contribution played in millions of homes.
5. Gary Portnoy’s Bar Room Philosophy (Cheers)
“Where Everybody Knows Your Name” captures the universal desire for belonging. Gary Portnoy, who had written songs for Air Supply and Dolly Parton, created this perfect distillation of Cheers’ welcoming atmosphere. The network initially rejected several of Portnoy’s submissions before this version clicked. His warm, conversational delivery made viewers feel they too could find comfort at the fictional Boston bar. The song became so culturally significant that it transcended the show, becoming shorthand for any place where people feel accepted.
6. Jan Hammer’s Synthesizer Revolution (Miami Vice)
Czech-born musician Jan Hammer brought his jazz fusion background to television with Miami Vice’s pulsing instrumental theme. The synthesizer-driven composition captured the show’s stylish essence and the neon-soaked atmosphere of 1980s Miami. Hammer’s theme did something remarkable by hitting #1 on the Billboard Hot 100 as an instrumental. His pioneering electronic sound influenced everything from film scores to dance music. Before Miami Vice, Hammer had collaborated with guitar virtuoso Jeff Beck and jazz greats like John McLaughlin.
7. Jack Jones’ Smooth Sailing Invitation (The Love Boat)
Two-time Grammy winner Jack Jones brought his sophisticated vocal style to television with The Love Boat theme. Known for jazz standards and easy listening hits like “Wives and Lovers,” Jones lent credibility to what could have been a campy concept. His polished, romantic delivery perfectly matched the show’s fantasy of romance and adventure on the high seas. The theme became so iconic that decades later, Princess Cruise Lines still used it in their advertising. Jones’ involvement elevated the production value of the entire series.
8. Carole King and Daughter’s Maternal Duet (Gilmore Girls)
Folk-rock legend Carole King repurposed her 1971 song “Where You Lead” as a mother-daughter duet with Louise Goffin for Gilmore Girls. The lyrics, originally about following a romantic partner anywhere, were modified to reflect the show’s central relationship. King’s involvement added musical credibility to the series about a young single mother and her daughter. Few television themes can claim a songwriter of King’s caliber – she penned countless hits including “(You Make Me Feel Like) A Natural Woman” and “You’ve Got a Friend.”
9. Shandi Sinnamon’s Teen Sitcom Classic (Charles in Charge)
The peppy Charles in Charge theme came from Shandi Sinnamon, a talented vocalist who had toured with major rock acts before landing this television gig. Her upbeat delivery perfectly matched the lighthearted tone of the Scott Baio sitcom about a college student working as a live-in babysitter. Sinnamon co-wrote the catchy tune with Michael Jacobs and David Kurtz. While not a household name, her clear, energetic voice became part of 1980s pop culture, playing in living rooms nationwide during the show’s five-season run.
10. Ann Hampton Callaway’s Broadway-to-TV Journey (The Nanny)
Jazz vocalist and Tony-nominated composer Ann Hampton Callaway brought theatrical flair to television by writing and performing The Nanny’s explanatory theme. Her distinctive voice narrated Fran Fine’s journey from Queens to Manhattan while showcasing serious vocal chops. Callaway crafted clever rhymes that efficiently established the show’s premise in under a minute. Beyond television, she composed over 250 songs for Broadway and jazz performances. Her connection to The Nanny came through her friendship with star Fran Drescher, demonstrating how personal relationships often influence creative collaborations.
11. Jim Gilstrap & Blinky Williams’ Funky Partnership (Good Times)
The infectious Good Times theme showcased the vocal talents of Jim Gilstrap and Blinky Williams, both accomplished soul singers with impressive resumes. Gilstrap had provided backing vocals on Stevie Wonder’s classic album Songs in the Key of Life, while Blinky had recorded for Motown. Their energetic performance captured the show’s paradoxical optimism – finding good times despite challenging circumstances. The funk-influenced arrangement featured a driving bass line and horn section typical of 1970s soul music. Their voices blended perfectly, creating television theme immortality.
12. Carroll O’Connor & Jean Stapleton’s Character-Driven Duet (All in the Family)
“Those Were the Days” gained authenticity from being performed by the show’s stars rather than professional singers. Carroll O’Connor and Jean Stapleton stayed in character as Archie and Edith Bunker, complete with Archie’s gruff delivery and Edith’s off-key warbling. Their imperfect rendition perfectly set up the show’s examination of a changing America through the eyes of a traditional, working-class family. The nostalgic lyrics about simpler times reflected Archie’s resistance to cultural shifts of the 1970s. Few TV themes so perfectly encapsulated a show’s premise.
13. RJD2’s Hip-Hop Sophistication (Mad Men)
Before soundtracking 1960s advertising executives, “A Beautiful Mine” appeared on RJD2’s 2006 album Magnificent City. The Philadelphia-based producer, born Ramble Jon Krohn, created this atmospheric instrumental by blending samples with original composition. Mad Men creator Matthew Weiner discovered the track and felt its mysterious, jazzy tones perfectly captured his show’s complex mood. The opening’s falling silhouette visually complemented RJD2’s descending string arrangements. This collaboration brought underground hip-hop production techniques into prestige television, bridging musical worlds.
14. The Refreshments’ Texan Twang (King of the Hill)
Arizona alt-rock band The Refreshments created the instrumental “Yahoos and Triangles” specifically for Mike Judge’s animated series. Their southwestern sound, featuring twangy guitars and a driving rhythm section, perfectly complemented the show’s Texas setting. The band was riding the success of their hit “Banditos” when they got the King of the Hill gig. Though The Refreshments disbanded in 1998, their theme continued playing for the show’s entire 13-season run. Lead guitarist Brian Blush later revealed they recorded the theme in just one day.
15. Jay Ferguson’s Office Space (The Office)
Before creating the quirky, instantly recognizable theme for The Office, Jay Ferguson enjoyed success with the 1970s rock band Spirit and later as a solo artist with the hit “Thunder Island.” His playful composition for the mockumentary perfectly captured the show’s blend of mundane workplace reality and subtle absurdity. Ferguson later formed The Scrantones specifically to record the full version. The theme’s bouncy piano and hand claps became so iconic that office workers everywhere would instinctively mime along to the rhythm during rewatches.
16. Malvina Reynolds’ Suburban Commentary (Weeds)
Folk singer Malvina Reynolds wrote and recorded “Little Boxes” in 1962 as a critique of suburban conformity. Decades later, Showtime’s Weeds repurposed this protest song as its theme for Season 1, finding new relevance in its satire of cookie-cutter housing developments. Reynolds, who was 63 when she wrote the song, was known for socially conscious lyrics. Her gentle melody masked sharp criticism of middle-class homogeneity – “little boxes made of ticky-tacky, all looking just the same.” Later seasons featured cover versions by artists like Death Cab for Cutie.
17. Michael Kiwanuka’s Atmospheric Opener (Big Little Lies)
British soul singer Michael Kiwanuka didn’t create “Cold Little Heart” for television – HBO’s Big Little Lies adopted the track three years after its release. The show’s producers recognized how the song’s haunting quality and lyrics about secrets perfectly mirrored the series’ themes. Only a portion of the original 10-minute track appears in the opening credits. Kiwanuka’s soulful voice and the song’s building intensity set the tone for the show’s exploration of seemingly perfect lives hiding dark truths. The theme choice introduced Kiwanuka to a broader American audience.
18. Jace Everett’s Vampire Blues (True Blood)
Country-rock singer Jace Everett released “Bad Things” on his self-titled 2005 debut album, but the song found new life when True Blood creator Alan Ball selected it as the show’s opening theme. Its swampy, seductive sound perfectly matched the series’ Southern Gothic vampire tale. The sexually charged lyrics – “I wanna do bad things with you” – directly echoed the show’s blend of horror and eroticism. After languishing in relative obscurity, Everett’s career surged thanks to the HBO series. The song eventually went gold in the US.
19. Gavin DeGraw’s Career-Defining Intro (One Tree Hill)
“I Don’t Want to Be” served double duty as Gavin DeGraw’s breakthrough hit and the perfect theme song for One Tree Hill. The track’s lyrics about identity struggles resonated with the teen drama’s coming-of-age storylines. DeGraw wrote the autobiographical song before the show existed, but it became so intertwined with One Tree Hill that he performed it live for the series finale. Throughout the show’s run, various artists recorded cover versions for different seasons. For many fans, the opening piano notes instantly trigger nostalgic feelings.
20. Hans Zimmer’s Animated Surprise (The Critic)
Long before scoring blockbusters like The Dark Knight and Inception, Hans Zimmer created the playful orchestral theme for The Critic. This short-lived animated series about a cynical movie reviewer featured Zimmer’s distinctively cinematic sound in miniature form. Al Jean and Mike Reiss, who developed the show after working on The Simpsons, secured Zimmer during his rise to Hollywood prominence. Though the series lasted just 23 episodes, it showcased Zimmer’s versatility beyond dramatic films. The German composer would later win Academy Awards for The Lion King.