We preemptively accept your thanks for all the Tv Theme Songs we are about to lodge back into your heads. Or maybe we should apologize in advance?
Despite periodic attempts to contract or outright eliminate them, theme songs are a crucial part of the TV-watching experience. The best ones set the perfect mood for each episode of your favorite shows and can be just as entertaining as a great joke, monologue, or action sequence. That’s why we’ve decided to pick the 100 best theme songs of all time — technically 101, since there are two as inextricably linked as peanut butter and jelly — and rank them in order of greatness.
How did we determine this, beyond arguing about it over Slack, Zoom, ham radio, and more?
First, we compiled a massive list of great songs from the extensive history of TV. We then narrowed it down by considering diversity in music style, show style, and era. (Honestly, the entire 100 could have been from shows of the Seventies. We apologize to The White Shadow, What’s Happening??, and many others that didn’t make the final cut.) Some songs were written specifically for their shows, while others were pre-existing tunes given new life through their association with a particular series.
Then, we focused on two main factors: 1) How great is it as a song? 2) How well does it prepare you for the show that follows, in terms of mood and/or premise explanation? Sometimes, one factor was more important than the other, leading to many heated debates. (There are still lingering feelings about which of ABC’s T.G.I.F. family sitcoms received the nod and which didn’t.) Like any attempt to quantify art, a lot of it came down to gut feeling: On its own, Theme Song A is objectively better music than Theme Song B, but Theme Song B is a much more perfect match for its show.
This list — with many descriptions indebted to the rich history of theme songs in Jon Burlingame’s book TV’s Greatest Hits — is our attempt to explain why we chose these 100 over any or all of your personal favorites.
Enjoy, and get ready to hum along.
‘WandaVision’
WandaVision TV series logo and characters Wanda and Vision
Several shows on this list changed their theme songs over the years. WandaVision changed its theme song for every episode — even twice in one episode! As the MCU’s first Disney+ series transformed into tributes to various classic sitcoms, the Frozen songwriting team of Kristen Anderson-Lopez and Robert Lopez continually created clever pastiches of iconic TV themes. These parodies became as catchy as the originals in their own right. And in the case of the Munsters-esque “Agatha All Along,” the parody proved to be even more memorable than the original. —A.S.
‘Terriers’
Terriers TV show featuring actors Donal Logue and Michael Raymond-James
Some TV theme songs outlive the shows they were created for, like Harry Nilsson’s “Best Friend” from The Courtship of Eddie’s Father. However, sometimes a great song is doomed to obscurity along with the short-lived show it introduced. A prime example is “Gunfight Epiphany,” Rob Duncan’s laid-back surf guitar theme for Terriers. This absurdly charming detective drama sadly went unwatched by most. —A.S.
‘Three’s Company’
Three's Company TV show cast featuring John Ritter, Joyce DeWitt, and Suzanne Somers
The Boogie Nights of sitcom themes. Three’s Company captures the playful antics of three swinging singles sharing a 1970s Santa Monica, California, party pad: John Ritter, Joyce DeWitt, and Suzanne Somers. While the network wanted to keep it wholesome, the show’s humor hinted at a more decadent lifestyle. “Come and Knock on Our Door” is a flirtatious invitation to a ménage à trois, cleverly disguised as a friendly gathering. (“The kisses are hers and hers and his,” indeed!) It was written by Joe Raposo, the Sesame Street genius behind classics like “Somebody Come and Play,” “Bein’ Green,” and “Me Lost Me Cookie at the Disco.” The vocals are credited to “Ray Charles,” but it’s not the legendary singer, just a sound-alike. As the song suggests, everyone in this house seemed to get lucky — except, tragically, the long-suffering Mrs. Roper. —R.S.
‘Rescue Me’
Rescue Me TV series starring Denis Leary as a firefighter
The Denis Leary firefighter drama needed intro music to reflect the anguish of its FDNY characters in the aftermath of 9/11. Garage rockers the Von Bondies provided the perfect soundtrack with “C’mon, C’mon.” This furious howl captured the series’ raw emotion. —A.S.
‘CHiPs’
CHiPs TV show stars Erik Estrada and Larry Wilcox on motorcycles
For NBC’s youth-oriented police drama CHiPs, starring Erik Estrada and Larry Wilcox, composer John Parker created a glossy piece of synth-driven triumphalism. It was reminiscent of florid disco hits like Le Pregunta’s “Shangri-La.” The CHiPs theme’s instant kid appeal paved the way for Stu Phillips and Glen A. Larson’s iconic Knight Rider theme. —M.M.
‘The Partridge Family’
The Partridge Family TV show cast posing with musical instruments
Let’s be honest: The Partridge Family produced better songs than the one that opened their sitcom about a fictional family band. “I’ll Meet You Halfway” and “I Woke Up in Love This Morning,” sung by series star David Cassidy, were AM radio hits. However, “Come On Get Happy” perfectly captured the show’s bubbly, wholesome vibe. The opening harpsichord riff is undeniably catchy. Co-written by bubblegum pop titan Wes Farrell, who also penned Sixties hits like “Hang On Sloopy,” “Come On Down to My Boat,” and some Partridge singles, including “Doesn’t Somebody Want to Be Wanted.” An alternate version of the song, mentioning “Danny got Reuben to sell our song,” offered viewers a glimpse into the music business machinations. Danny Partridge, the publishing hustler! —D.B.
‘New Girl’
New Girl TV show actors Zooey Deschanel, Jake Johnson, and Lamorne Morris
Of course, the quirky queen of twee, Zooey Deschanel, would write and sing her own theme song for New Girl. The opening sequence effectively sets the show’s tone – Jess’s mini-dress style and craft aesthetic are immediately apparent – and introduces the dynamic of the central foursome. However, the cutesiness apparently turned off male viewers. Starting in Season Four, they switched to an electric-guitar rendition. Zoey Deschanel later told EW, “I was kind of sad [about that]. They were like, ‘We think men are going to think the show is too female if it’s this way.’” —E.G.P.
‘I Dream of Jeannie’
I Dream of Jeannie TV show stars Barbara Eden and Larry Hagman
A flouncy, brassy bit of bossa nova with a belly-dance feel, the I Dream of Jeannie theme perfectly evoked the playful and exotic possibilities of having a genie. Written by prolific Hollywood bandleader Hugo Montenegro, it’s reminiscent of his version of the Beach Boys’ “Good Vibrations.” Montenegro’s Jeannie jingle is both a bit square and effortlessly cool. The show’s creator, Sidney Sheldon, later became a successful author of romantic-adventure bestsellers. —M.M.
‘All That’
All That TV show original cast members Kenan Thompson and Kel Mitchell
A great song performed by the iconic R&B trio TLC. Nickelodeon’s Saturday Night Live-style sketch-comedy show for kids, All That, launched the careers of Amanda Bynes, current SNL member Kenan Thompson, and Nick Cannon. The original run lasted from 1994 to 2005, with a brief revival in 2019 that ended during the Covid-19 pandemic in 2020. Thankfully, the revival kept the nostalgic Nineties R&B theme song (with Thompson’s voice added at the beginning). This allowed both kids and parents to groove to its throwback track – before parents inevitably put on their CrazySexyCool CD and reminisced about the good old days. —T.K.
‘Have Gun, Will Travel’
Have Gun, Will Travel TV show star Richard Boone as Paladin
Actor-singer-songwriter Johnny Western, guest-starring on an episode of Have Gun, Will Travel, wrote “The Ballad of Paladin” while his wife was in labor. Inspired by “Ghost Riders in the Sky,” he said, “I picked up my guitar…and started playing and singing ‘Ghost Riders in the Sky.’ And this ‘Paladin, Paladin, where do you roam?’ started coming out, to exactly the same beat as ‘Ghost Riders.’” He finished the song in 20 minutes and presented it to Richard Boone and co-creator Sam Rolfe as a “musical thank-you card.” They loved “The Ballad of Paladin” so much that it became the series’ closing theme in the second season. It’s both a memorable song from TV’s dominant early genre and a famous example of a show saving its best theme for the end. Years later, River Phoenix and the cast of Stand by Me sang “The Ballad of Paladin” in the film. —A.S.
‘The Walking Dead’
The Walking Dead TV series zombie horde scene
Composer Bear McCreary, known for his work on Battlestar Galactica, Agents of S.H.I.E.L.D., and Outlander, called the opening music for The Walking Dead “among the simpler theme songs out there.” At 34 seconds, it’s a repeating overcast symphonic riff with modulation and added strings. McCreary cited Bernard Hermann as inspiration. This piece of music became a new master of suspense, evoking the feeling of being chased by a zombie, getting closer and closer until the music — and your life — abruptly ends. —D.B.
‘The Olympics’
An unforgettable sports broadcasting theme, like Monday Night Football’s iconic four-note fanfare, can elevate even a regular-season game. But nothing surpasses the grand intro that signals the start of Olympics coverage. ABC began using Leo Arnaud’s booming “Bugler’s Dream” in 1968. In 1984, John Williams expanded it into a longer composition, becoming an Olympiad staple across networks. The song is triumphantly symphonic, sounding like both a thrilling race and a victory parade. —N.M.
‘Stranger Things’
Stranger Things TV series title card with glowing red letters
Like everything else about the Netflix horror hit, the Stranger Things theme song is a loving homage to Eighties pop culture. Electronic musicians Kyle Dixon and Michael Stein pay tribute to synth-heavy Eighties scores by composers like John Carpenter, Tangerine Dream, and Vangelis. As the neon-lit titles appear, Dixon and Stein’s theme throws wave after wave of dread at the viewer. It prepares us for the terrors ahead while transporting us back to the era of Stephen King and kids encountering supernatural trouble on bikes. —A.S.
‘The Big Bang Theory’
The Big Bang Theory TV show cast in their apartment living room
Certainly the only TV theme song to use a word like “autotrophs,” this quick, catchy pop-punk tune from Canadian band the Barenaked Ladies cleverly signaled that The Big Bang Theory would effortlessly turn nerdy topics like physics and comic books into accessible sitcom material. Show creator Chuck Lorre initially wanted to use Barenaked Ladies frontman Ed Robertson’s acoustic demo of “History of Everything,” but Robertson insisted on recording it with the band. For the show’s finale, Robertson gifted Lorre a new version of that demo, which poignantly played as the gang ate Chinese food in Leonard and Penny’s apartment during the closing scene. —J.D.
‘The Flintstones’
The Flintstones cartoon family in their stone age car
The Flintstones initially used a lively instrumental theme song for its first two seasons. However, as the show gained popularity, producers decided to elevate it. Hanna-Barbera musical director Hoyt Curtin teamed up with a 22-piece big band and the Randy Van Horne Singers to create a jazzy theme with lyrics. “I decided to go with the jazz band and singers after the lyric was written,” Curtin said in 1994. “I wrote that sucker in a real panic because we were way behind.” That “sucker” became one of the most beloved cartoon theme songs of all time, recognizable to generations. In 1994, the B-52s covered it for the Flintstones live-action movie. “Hearing that dang tune all over, I feel like the forgotten man,” Curtin remarked at the time. “I really do.” —A.G.
‘Dallas’
Dallas TV series cast at Southfork Ranch
Dallas dominated ratings as the most glamorous and scandalous of the night-time soaps. This sex-and-money trash epic featured the Ewing family scheming over their Texas oil empire at Southfork Ranch. It makes Succession look tame. Jerrod Immel’s theme, with its horn fanfare and disco flash, perfectly embodies this. No country twang here – this was a theme for the money-driven Sun Belt of the “greed is good” Eighties. Larry Hagman’s J.R. Ewing, the Tony Soprano of his era, wheeled and dealed in a cowboy hat and an evil grin. —R.S.
‘The Leftovers,’ Season Two
The Leftovers TV series cast looking somber
The first season of The Leftovers is among the bleakest TV ever produced, matched by its overwrought Max Richter theme song and title sequence. Recognizing they had pushed the despair too far, co-creators Damon Lindelof and Tom Perrotta lightened things up in Season Two. They replaced the orchestral theme with Iris DeMent’s folksy “Let the Mystery Be.” The lyrics touched on the show’s themes while preparing viewers for the lack of explanations for its metaphysical premise. The more accepting tone of the music ushered in a version of the series that was still emotional but less oppressive. Suddenly, what was hard to watch became one of HBO’s best shows. Some fans, including BoJack Horseman creator Raphael Bob-Waksberg, argue that Leftovers Season One would be just as beloved with the DeMent song. (The final season varied the theme each week, bringing back both Richter and DeMent, and even using the Perfect Strangers theme?) —A.S.
‘Pachinko’
Pachinko TV series cast dancing in opening credits
The quality of the song is crucial for a great theme. But often, it’s the blend of music and visuals. The Grass Roots’ “Let’s Live for Today” provides the lush sound for the historical scope of Pachinko, an adaptation of Min Jin Lee’s novel about a Korean family during Japanese occupation. Paired with a joyous dance-off between the show’s actors, many of whom never interact in the series, the theme elevates the entire experience. —A.S.
‘Where in the World Is Carmen Sandiego?’
“Do it, Rockapella!” With this rallying cry, the house band of PBS’s children’s game show, Where in the World Is Carmen Sandiego?, launched into an ooo-wop a cappella theme. Based on the educational video-game series about a globe-trotting thief in a red hat, the theme is bubbly and infectious. Written by Rockapella co-founder Sean Altman and Broadway composer David Yazbek, it’s a guaranteed trigger of Nineties-kid nostalgia. —S.T.C.
‘The Dick Van Dyke Show’
The Dick Van Dyke Show TV show stars Dick Van Dyke and Mary Tyler Moore
Big band sound dominated theme songs in the Fifties and early Sixties. Shows like I Love Lucy and The Honeymooners used static images. The Dick Van Dyke Show theme (one of several Earle Hagen compositions listed) accompanies the main character in action. The whimsical xylophone riff—Hagen called it “that little fillip”—plays when Dick Van Dyke’s Rob Petrie trips over the ottoman. It’s a versatile riff, working in the alternate version where Rob nimbly avoids the ottoman. An expert match of sound and visuals. (Years later, Van Dyke said Morey Amsterdam wrote lyrics for it.) —A.S.
‘Green Acres’
Green Acres TV show cast Eddie Albert and Eva Gabor in a farm setting
Addams Family theme composer Vic Mizzy reached his expository peak with the Green Acres theme. This was one of several rural-oriented sitcoms CBS rolled out in the 1960s, like the equally ironic Beverly Hillbillies. The Green Acres lyrics explain everything, are sardonic, and feature the show’s stars, Eddie Albert and Eva Gabor, singing in character: “Fresh air/Times Square/You are my wife/Goodbye, city life/Green Acres, we are there!” —M.M.
‘Mad Men’
Mad Men TV show title card silhouette of Don Draper falling
Mad Men’s pilot barely changed before airing, but the opening theme did. Showrunner Matthew Weiner originally featured a live-action shot of a businessman jumping from his office window. As Weiner recalled, “AMC [had] a problem with it.” They opted for abstract animation of a falling businessman past buildings, representing “all of the fears inside this man,” set to RJD2’s “A Beautiful Mine.” Weiner discovered the instrumental hip-hop track on NPR’s Marketplace. He loved its old-Hollywood feel, which gave the visuals a cynical edge. “To me, American businessman jumps out a widow, that is a statement,” he said. “It’s part of our iconography.” —E.G.P.
‘WKRP in Cincinnati’
WKRP in Cincinnati TV show cast in radio station setting
For a rock & roll sitcom about radio DJs, an upbeat theme song seemed obvious. (Like the show’s closing-credits banger.) Instead, WKRP in Cincinnati had a melancholy ode to the rootless DJ life – “town to town, up and down the dial” – with lyrics by creator Hugh Wilson. This vibe of adult malaise made WKRP special. The theme song has more emotional depth than Les Nessman’s Thanksgiving turkey drop. —R.S.
‘Scooby-Doo, Where Are You!’
Scooby-Doo, Where Are You! cartoon characters in the Mystery Machine van
In 1969, the Archies, a fictional cartoon band, had a hit single with “Sugar, Sugar.” The Scooby Doo, Where Are You? theme song, premiering that September, followed a similar kiddie-rock path, outlining the plot in the lyrics. The show featured groovy teenagers solving mysteries in a psychedelic van, similar to Archie and his gang. While not a bubblegum hit, it deservedly became a Saturday-morning staple for decades. —M.M.
‘Tonight Show Starring Johnny Carson’
The Tonight Show Starring Johnny Carson host Johnny Carson on stage
For nearly 30 years, Johnny Carson entered homes with the bounding swing of Doc Severinsen’s Atomic Age horn charts, announced by Ed McMahon’s “Heeeere’s … Johnny!” Carson inherited Severinsen as a trumpeter when he took over The Tonight Show in 1962. “After about a year, the producer of the show came to me [and] said, ‘You know, Johnny wants you to come in and take over the band on the show,’” Severinsen recalled. “And it was the single biggest break of my life.” —M.M.
‘Buffy the Vampire Slayer’
Buffy the Vampire Slayer TV show cast in a group shot
Nerf Herder went from a geeky pop-punk band to authors of one of the 1990s’ most memorable instrumental themes. Buffy the Vampire Slayer‘s theme moves from monster-movie organ to full-on rock, featuring a sick guitar pick slide and hardcore-punk climax. The tune embodied the melodramatic 1990s: High school might be hell, but we’ll rock hard slaying undead metaphors for teen trauma. —J.G.
‘Moonlighting’
Moonlighting TV show stars Cybill Shepherd and Bruce Willis
Moonlighting, a top 1980s show, was an innovative romance starring Cybill Shepherd and Bruce Willis. Al Jarreau’s smooth-jazz theme perfectly complements the show. Co-written with Lee Holdrige and produced by Nile Rodgers, it serenaded a generation and became a Billboard top 30 hit. “We’ll walk by night/We’ll fly by day/Moonlighting strangers/Who just met on the way,” Jarreau sings. —M.R.
‘Boondocks’
Boondocks cartoon characters Huey and Riley Freeman
Originally a comic strip by Aaron McGruder, Boondocks was a classic 21st-century cartoon for adults. It featured intellectual Huey Freeman and his gangsta younger brother, Riley, living with their grandfather in the suburbs. Hip-hop artist Asheru’s boom bap theme is perfect, with conscious lyrics: “I am the stone that the builder refused/I am the visual, the inspiration that made lady sing the blues.” It captures Huey’s essence. —J.G.
‘Malcolm in the Middle’
Malcolm in the Middle TV show cast in a family portrait
A brilliant kid stuck in an eccentric family – Malcolm in the Middle’s theme song is by nerd popsters They Might Be Giants. “Boss of Me” is TMBG at their power-pop finest, capturing a picked-on kid’s POV: “You’re not the boss of me now/And you’re not so big.” It won a Grammy for Best Song Written for a Motion Picture, Television, and Other Visual Media. “Life is unfaaaiiiir.” —J.G.
‘Parks and Recreation’
Parks and Recreation TV show cast in a group pose
Choosing between Parks and Recreation, The Office, and Brooklyn Nine-Nine was tough. Parks won due to: 1) Gaby Moreno and Vincent Jones’ jaunty folk tune’s optimistic spirit better matches Parks than the others; 2) The Parks theme inspired the viral video showing you can sing “Jabba the Hutt” to it. —A.S.
‘Phineas & Ferb’
Phineas & Ferb cartoon characters Phineas and Ferb
Few cartoons use original songs as well as Phineas & Ferb. The theme is terrific. “Today Is Gonna Be a Great Day,” written by creators Dan Povenmire and Jeff “Swampy” Marsh and performed by Bowling for Soup, is a zippy ode to making the most of summer vacation. Bowling for Soup songwriter Jaret Reddick added lyrics for a pop version and contributed more music. It’s impossible to hear this and not have a great day. —J.G.
‘Full House’
Full House TV show cast in front of the San Francisco house
There was Slack debate about “Everywhere You Look” from Full House versus “Nothing’s Gonna Stop Me Now” from Perfect Strangers. All Frederick-Salvay themes from ABC’s “TGIF” sitcom block feel musically similar – uplifting arrangements and lyrics, generic enough to make each viewer feel good about their family. Jesse Frederick sang many themes, including “Everywhere You Look.” For Fuller House, Carly Rae Jepsen covered the familiar tune. —A.S.
‘S.W.A.T.’
S.W.A.T. TV show cast in tactical gear
The S.W.A.T. TV show with Steve Forrest and Robert Urich lasted one season. But its theme song, by Barry de Vorzon and performed by Rhythm Heritage, was a hit, reaching Number One on the Hot 100 in 1976 and sampled by LL Cool J and 3rd Bass. “Theme From S.W.A.T.” is a fiery instrumental with funk groove, disco grandeur, and butt-rock, blending mid-Seventies aesthetics into a powerful track. —M.J.
‘Dawson’s Creek’
Dawson's Creek TV show cast in a group photo
Dawson’s Creek’s opening credits were meant for Alanis Morissette’s “Hand in My Pocket,” even edited to match. (See here). Paula Cole’s ballad “I Don’t Want to Wait” fit the melodramatic highs and lows of Dawson, Joey, Pacey, Jen, and friends better. —A.S.
‘Happy Days’
Happy Days TV show cast including Ron Howard and Henry Winkler
“Happy Days” is one of the most memorable sitcom themes. Norman Gimbel and Charles Fox’s “Rock Around the Clock” tribute captured Boomer nostalgia for the Fifties. The show was a hit after season two, and the theme became a pop smash, reaching Number Five on the Billboard Hot 100. For the Gen X fanbase, “These days are ours” was ironic – the days depicted belonged to their parents. —J.G.
‘Peacemaker’
Peacemaker TV series opening credits dance sequence
Like Pachinko, Peacemaker’s opening credits with cast dancing improve the show by five percent. The choreographed number is set to Wig Wam’s “Do Ya Wanna Taste It.” Neon and retro vibes set up that Peacemaker is trapped in a past he barely remembers. Plus, it kicks ass. —A.S.
‘The Wonder Years’
The Wonder Years TV show cast Fred Savage and Danica McKellar
The Wonder Years producers had many Sixties songs to choose from, but Joe Cocker’s “With a Little Help From My Friends” was perfect. It stirred nostalgia for the Beatles, Woodstock, and Cocker for Baby Boomers longing for a more innocent time. A show set two decades in the past today would be in 2002, with themes like Nickelback’s “How You Remind Me” or Avril Lavigne’s “Complicated.” —A.G.
‘Taxi’
Taxi TV show cast Danny DeVito and Judd Hirsch
Taxi’s theme in 1978 was Bob James’ upbeat “Touchdown.” Early in season one, they switched to the laid-back “Angela,” also by James. The tranquil, funky song was perfect for the daytime cab trip over the Queensboro Bridge in the opening credits. In the late Seventies, New York was often depicted as decaying. Taxi’s serene visuals and chill music offered a sweeter, more inviting idea of the city. The slow ride symbolized a brighter future for New York. —J.D.
‘Friday Night Lights’
Friday Night Lights TV show cast Kyle Chandler and Connie Britton
Austin instrumental rockers Explosions in the Sky scored the Friday Night Lights movie, with “Your Hand in Mine” as the theme. They declined to use it for the TV show. (“Boy, did we shoot ourselves in the foot,” said guitarist Munaf Rayani.) W.G. “Snuffy” Walden created a 47-second Explosions soundalike. The song’s emotional sweep became the 2000s sound of sports struggle and triumph. (See also Moneyball.) —J.G.
‘The Drew Carey Show’
The Drew Carey Show TV show cast Drew Carey and Kathy Kinney
The Drew Carey Show started with Drew Carey crooning “Moon Over Parma,” Bob McGuire’s ode to Cleveland suburb love. It fit the show’s Cleveland setting and blue-collar vibe, a no-frills alternative to Friends. Then, an early episode opened with a dance number to “Five O’Clock World” by the Vogues, which became the new theme. “Five O’Clock World” made the show successful enough to film a Cleveland opening with the cast dancing to the Presidents of the United States’ cover of “Cleveland Rocks.” The show became defined by its theme songs, mixing covers of all three in later seasons. —A.S.
‘The Odd Couple’
The Odd Couple TV show stars Jack Klugman and Tony Randall
“Can two divorced men share an apartment without driving each other crazy?” Fortunately, not these two. Tony Randall’s Felix and Jack Klugman’s Oscar were mismatched roommates on The Odd Couple. The opening credits set the scene: “On November 13, Felix Unger was asked to remove himself from his place of residence. That request came from his wife.” Neil Hefti, Count Basie’s arranger, composed the jazz theme, like he did for Batman. With harpsichords, it’s a romantic portrait of New York for the Seventies, especially the surge at the end as Oscar and Felix dance in Central Park. —R.S.
‘The Andy Griffith Show’
The Andy Griffith Show TV show cast Andy Griffith and Ron Howard fishing
The Andy Griffith Show’s 25-second opening credits enshrined its theme song as beloved whistling. “The Fishin’ Hole” was composed and whistled by Earle Hagen, also known for themes for The Dick Van Dyke Show, I Spy, and The Mod Squad. In 1961, Themes and Laughs From The Andy Griffith Show featured two versions: one with lyrics, the other a Stan Kenton-style jazz number, giving this idyllic small-town life a West Coast swing. —J.D.
‘Frasier’
Frasier TV show logo and character silhouette
The Cheers spinoff Frasier’s theme is a double rarity: it plays over the end credits and is sung by star Kelsey Grammer. “Tossed Salads and Scrambled Eggs,” composed by Bruce Miller with lyrics by Darryl Phinnessee, playfully references the show’s radio-show psychiatry premise. (The mixed foods represent Dr. Crane’s patients.) It’s perfectly odd, enhanced by Grammer’s varied vocal vamping. A “Scrambled eggs all over my face, what is a boy to do?” episode was always welcome. —S.T.C.
‘Welcome Back, Kotter’
Welcome Back, Kotter TV show cast Gabe Kaplan and John Travolta
John Sebastian, of the Lovin’ Spoonful, wrote “Welcome Back” for a new ABC sitcom about a Brooklyn teacher returning to his old high school. His Sweathog serenade was so good the show changed its name from Kotter to Welcome Back, Kotter. After Sebastian expanded his demo into a full song, it hit Number One in 1976, embodying the band’s warm, fun vibe. —J.D.
‘Seinfeld’
Seinfeld TV show cast Jerry Seinfeld, Jason Alexander, Julia Louis-Dreyfus, and Michael Richards
Seinfeld broke sitcom conventions, so its music should too. Composer Jonathan Wolff wrote an opener to accompany Jerry Seinfeld’s standup. Wolff used quirky sounds, like finger snaps, to evoke New York City’s pace. “Instead of using drums or other instruments, I used sounds that could go with his human voice and used the pacing of his words to go with his tempo,” Wolff said. The theme subtly changed each episode. The slap bass is actually a synth, adding to its unconventional charm. —D.B.
‘M*A*S*H’
MASH TV show cast Alan Alda, Wayne Rogers, and Loretta Swit
Robert Altman grumbled that his son made a fortune co-writing (with Johnny Mandel) “Suicide Is Painless” for the M*A*S*H movie and TV show. Mike Altman’s sardonic lyrics didn’t make it to TV, but the instrumental version captures the original’s wistful, boisterous, and absurd tone. —N.M.
‘Lost’
Lost TV show title card with the word LOST in white letters on black
Michael Giacchino wrote hours of music for Lost, evoking suspense, adventure, terror, romance, comedy, and mystery. Yet, the show’s signature sound is the 15 seconds of eerie ambient noise by J.J. Abrams. As “LOST” twists against black, the dissonant tones put viewers in the castaways’ place on a magical island, wondering, “Guys, where are we?” —N.M.
‘Diff’rent Strokes’
Diff'rent Strokes TV show cast Gary Coleman and Conrad Bain
Years before his son Robin blurred songwriting lines, Alan Thicke, with Gloria Loring and Al Burton, penned Diff’rent Strokes’ earworm theme. The lyrics are Seventies vague (“Now, the world don’t move to the beat of just one drum…”) and economically specific (“A man is born, he’s a man of means/Then along come two, they got nothing but their jeans”). Many misheard “genes” as “jeans.” —J.G.
‘In Living Color’
In Living Color TV show cast Keenen Ivory Wayans and Jim Carrey
In Living Color featured hip-hop acts like Public Enemy and Tupac. Heavy D. and the Boyz created the theme song. They delivered a New Jack Swing tune about racial unity, fitting for a show with Jamie Foxx and Jim Carey. “And how would you feel knowin’ prejudice was obsolete,” Heavy D raps. “And all mankind danced to the exact beat/And at night it was safe to walk down the street?” —A.G.
‘Match Game’
Match Game TV show host Gene Rayburn
Every game show needs a theme, from the hysteria of The Price Is Right to the cerebral Jeopardy!. Match Game excelled with Ken Bichel’s tipsy 1970s synth-funk. Gene Rayburn hosted this bizarre day-drinking show with flamboyant panelists like Charles Nelson Reilly and Brett Somers. The music captured their zany humor—the sonic equivalent of the Day-Glo orange set. More fun than a … blank! —R.S.
