Movies that monopolize a song - Page 4

I was eating breakfast yesterday and ELO's Don't Bring Me Down began to play and I immediately thought about Donnie Brasco.

*EDIT*

Quote:

Originally Posted by C.Swicegood 


Putting on the Ritz- Young Frankenstein

 

That song is forever linked in my mind with a dancing Pepsi can and The Golden Child.

*EDIT2*

Just went through the thread and cannot believe that The Doors People are Strange and The Lost Boys didn't crop up.

Full Metal Jacket was mentioned earlier on, but, despite Family Guy trying to pry it away and claim it for its own, that film will always own "Surfin' Bird."

See, when I think Full Metal Jacket I'm immediately pulled into the theme from the Mickey Mouse Club.

I will always reference Mr. Blue Sky by ELO to Eternal Sunshine. 

people, seriously?

"EYE OF THE FREAKING TIGER"  ?? was it written specifically for the rocky movies or was it a hit before? I dont know, but it certainly belongs on this list.

also, 'You Could be Mine' by GnR....always has and always will be T2.

"Foxy Lady", partially ruined by Wayne's World. It's too great a song for Garth to keep it down forever.

Likely out of ignorance, for a long time I didn't realize "Born to Raise Hell" was by Cheap Trick, and had a life outside of Rock & Rule.

Quote:

Originally Posted by Lightning Slim 

"Foxy Lady", partially ruined by Wayne's World. It's too great a song for Garth to keep it down forever.

 

Likely out of ignorance, for a long time I didn't realize "Born to Raise Hell" was by Cheap Trick, and had a life outside of Rock & Rule.

First off, you're my new favorite Chewer for mentioning anything about Rock & Rule. Bless you & go with God.

Second, Wayne's World COMPLETELY ruined Hendrix's "Fire". I can't listen to it without hearing Tia Carrere. Just awful.

Quote:

Originally Posted by RockManDan 

people, seriously?

 

 

"EYE OF THE FREAKING TIGER"  ?? was it written specifically for the rocky movies or was it a hit before?

 

It was written at Stallone's request (randomly, he had failed to get the rights to "Another One Bites The Dust"),  and he can fucking well keep it.

Pulp Fiction was mentioned way back, and it's true: I've been a big instrumental surf-music fan since the 60's, but damn if Tarantino didn't impose his vision on songs I've known for decades, even "Misirlou."

Quote:

Originally Posted by Art Decade 

 

Second, Wayne's World COMPLETELY ruined Hendrix's "Fire". I can't listen to it with it without hearing Tia Carrere. Just awful.

 

Jesus. As if I needed another reason to avoid that film...

Quote:

Originally Posted by Judas Booth 

I don't remember her singing FIRE...I just remember Tia absolutely butchering BALLROOM BLITZ, complete with an extended scream at the song's midpoint.

It's the first number she sings as they enter the club for the first time, Amazingly, both "Bohemian Rhapsody" & "Ballroom Blitz" came away from that film unscathed for me.

I must be a freak, because the only song I associate with Wayne's World is "Dream Weaver".

Someone brought up "Walking On Sunshine" and American Psycho back on page one, but for me I now associate it with Futurama.  I don't know if they ever even play it, because I just hear Fry butchering it in my head when it's mentioned.

What trips me out is how "that guy" actor Lee Tergesen was one of the guys in the backseat.

Holy shit, Beecher.  I never caught that.

American Psycho owns Hip to be Square.

Lots of these for me.

"I Got You Babe" immediately invokes Groundhog Day in my mind.

"What is Love?" brings forth A Night at the Roxbury (or the SNL skits, whichever you prefer).

"Only You" is owned for me by So I Married an Axe Murderer.  (Also "S-A-T-U-R-D-A-Y Night")

"Do Wah Diddy Diddy" reminds me of Stripes.

"Put On Your Sunday Clothes" was forcibly taken from Hello Dolly and presented to Wall-E.

I'm a little ashamed, but "Jungle Love" never fails to reminds me of Jay and Silent Bob Strike Back.

And of course, the original song hijacker was not Quentin Tarantino, but this man.

Yeah, "original" was a poor choice of words.  I was in a hurry to finish the post and got careless.  Please accept my humble apology.

Rushmore ruined a perfectly good 60s Mod classic for me. I can't listen to The Creation's "Making Time" without being reminded of Wes Anderson's insufferable twee-ness.

Unlike Wayne's World, So I Married an Axe Murderer actually made some songs a little sweeter, namely The La's "There She Goes".

And, while not a movie, that old Chevy truck ad that used The Who's "Bargain", completely rendered that classic permanently unlistenable.

Right Back to Where We Started From - Slap Shot

Shout - Animal House

Iron Man - Iron Man

1812 Overture - V for Vendetta

Rodney Yates & Gritty Shaker - Ocean's Eleven (2001)

Fight the Power (Isleys) - Out of Sight

Holiday Road - Any of the Griswold Vacation Movies

That's all I can think of off the top of my head.

edit: took off movies already mentioned and here are a couple more

The Mark Has Been Made & Blue Bayou - Man on Fire

Invaders Must Die - Kick-Ass

All These Things That I've Done (I've Got Soul But I'm Not a Soldier) - Southland Tales

Don't know if this counts - but Wagner's Sigfried's Funeral March cannot, should not and hopefully will never be associated with any other movie or sequence but Johgn Boorman's Excalibur.

This is a thing of beauty...

Quote:

Originally Posted by Martin Blank 

The soundtrack album, however, no longer does. Not because Huey Lewis objected to the film, as was first widely reported, but because the label failed to clear the rights to include the song on the soundtrack. So they had to recall the disc.

 

Maybe you knew that; putting it out there for those who didn't (I for one hadn't heard about the rights thing, always assumed Lewis had a beef with having his song used as accompaniment to ax murder).

 

I did not know that. Thanks for the heads-up.

Caddyshack owns Any Way You Want It. I know that My Heart Will Go On was made for Titanic, but I can't hear that song without thinking about Bruno.

"Where Is My Mind?": Fight Club elevated what was merely a cool Pixies tune into classic status while Pump Up The Volume completely ruined their classic "Wave Of Mutilation".

I dunno if it's just me or not, but "When You Wish Upon a Star" belongs to Close Encounters, even if it's just a five-measure reference.

Quote:

Originally Posted by John Matrix 

Caddyshack owns Any Way You Want It.

I bet more people would associate I'm Alright with Caddyshack than Journey.

As an aside, my high school A/V teacher claimed to be the studio keyboard player for I'm Alright in the opening to Caddyshack.  It's one of those things that you might never be able to prove but who would claim it if it wasn't true.  Several years after I graduated he was fired for apparently using the pretty elaborate satellite/broadcasting system for a high school in the mid 90's to download massive amounts of pornography.

Dazed and Confused owns at least a dozen songs for me.  Sweet Emotion, Slow Ride, Cherry Bomb, I Just Want To Make Love To You, The Hurricane, No More Mr. Nice Guy, even Tuesday's Gone.

Also, I can't hear White Rabbit without thinking of Fear and Loathing in Las Vegas.

Quote:

Originally Posted by Polygon_Wizard 

If we're including classical music in here (looks like a few have been mentioned) Apocalypse Now will always be associated with Wagner's The Ride of the Valkyries.

Probably right. But I think The Blues Brothers is entitled to part custody. Not necessarily every weekend, but once a month at least.

Apocalypse Now also raised The Doors' "The End" to epic status, drenching it in visually tangible dark, psychedelic, & violent imagery. Ironically, Oliver Stone's The Doors almost sank it right into the pit of self-parody.

Quote:

Originally Posted by Schwartz 

Dazed and Confused owns at least a dozen songs for me.  Sweet Emotion, Slow Ride, Cherry Bomb, I Just Want To Make Love To You, The Hurricane, No More Mr. Nice Guy, even Tuesday's Gone.

 

Also, I can't hear White Rabbit without thinking of Fear and Loathing in Las Vegas.

Tuesday's Gone makes me think of Happy Gilmore. On another note, does Kingpin have any claim on The Sound of Silence? Probably not, but that's the movie I think of when I hear the song.

Quote:

Originally Posted by Schwartz 

Also, I can't hear White Rabbit without thinking of Fear and Loathing in Las Vegas.

I can't hear "White Rabbit" without thinking about Michael Douglas in The Game. It now reeks of gothic, baby-boomer ennui.

Something I always thought was interesting...

In 1994, a compact disc was released called TRUTH AND FICTION that featured the soundtrack of PULP FICTION, intercut with interview audio drops from Quentin Tarantino.  Now, say what you will about QT as a person and the relative originality or lack of originality in his films... but that guy knows music.  His soundtracks have led me to discover more "classic" artists I'd never heard of than almost any single source I could ever cite.  That said, there's this passage on the Truth and Fiction CD where QT talks about the importance of songs to set mood in films and how important it is to pick the absolutely right piece of music for a scene  He then mentions that he would never, ever pick a piece of music for one of his movies that was ever used in someone else's movie and that even though he'd like to use, say, "Be My Baby" by The Ronettes, he never would because Martin Scorsese's "fuckin' MEAN STREETS owns that song."  And I thought that was great!  Always be original!  "You tell 'em, QT!"

And then in 1997 with his next film, JACKIE BROWN, as we travel alongside Pam Grier along the airport's moving sidewalks, what is our opening credit sequence song? "Across 110th Street," by Bobby Womack.  From the film, ACROSS 110TH STREET.  (A different version of the song served as Across' opening theme, but then again the version used in Jackie Brown was, in fact, the version that served as the first track on the Across 110th Street soundtrack album.)

So, does using a different version of the song matter?  Even if it's by the same performer and is the far-more heard and referred-to version?

What about when a song is the ONLY good thing about a movie?

Quote:

Originally Posted by Engineer 

Something I always thought was interesting...

 

In 1994, a compact disc was released called TRUTH AND FICTION that featured the soundtrack of PULP FICTION, intercut with interview audio drops from Quentin Tarantino.  Now, say what you will about QT as a person and the relative originality or lack of originality in his films... but that guy knows music.  His soundtracks have led me to discover more "classic" artists I'd never heard of than almost any single source I could ever cite.  That said, there's this passage on the Truth and Fiction CD where QT talks about the importance of songs to set mood in films and how important it is to pick the absolutely right piece of music for a scene  He then mentions that he would never, ever pick a piece of music for one of his movies that was ever used in someone else's movie and that even though he'd like to use, say, "Be My Baby" by The Ronettes, he never would because Martin Scorsese's "fuckin' MEAN STREETS owns that song."  And I thought that was great!  Always be original!  "You tell 'em, QT!"

 

And then in 1997 with his next film, JACKIE BROWN, as we travel alongside Pam Grier along the airport's moving sidewalks, what is our opening credit sequence song? "Across 110th Street," by Bobby Womack.  From the film, ACROSS 110TH STREET.  (A different version of the song served as Across' opening theme, but then again the version used in Jackie Brown was, in fact, the version that served as the first track on the Across 110th Street soundtrack album.)

 

So, does using a different version of the song matter?  Even if it's by the same performer and is the far-more heard and referred-to version?

It's particularly amusing when it's the damn title song to the previous film, though you could probably make the argument that many movies would benefit from an injection of "Across 110th Street" (I don't think any filmmaker has copped Womack's remake with Los Lobos yet).

I suspect that Beethoven's Seventh Symphony is now permanently slotted for The King's Speech (apologies if that was mentioned upthread-- been a few weeks since I took a look), and for folks of a certain age or experience, Gounoud's "Funeral March For A Marionette" will always be the theme to TV's Alfred Hitchcock Hour.

Die Hard made use of Beethoven's Ninth Symphony as a sly bit of allusion to the fact that it's become a traditional Christmas-season piece in Japan. But Die Hard 2 went meta, by co-opting Sibelius' "Finlandia," not for any holiday reference, but as a nod to the director's homeland.

For classical pieces, Master & Commander owns Boccherini's Musica notturna delle strada di Madrid.

Also on the classical side, The Sorcerer's Apprentice in Fantasia.  The song (and story) existed well beforehand, but the iconic imagery created by Disney owns the song completely and it would take someone with balls of steel and a complete lack of sense to try to one up it.  Besides, for a lot of people, the piece owns both Fantasia films anyway.  People don't seem to remember the awesome Rite of Spring segment as much.

Quote:

Originally Posted by Schwartz 

Dazed and Confused owns at least a dozen songs for me... even Tuesday's Gone.

 

That song and the "party's over" scene were made for each other.  If you had no idea who Skynard was, you might make the mistake that it was written specifically for that film.  The pairing is that good.

Quote:

Originally Posted by Bill McNeal 

Also on the classical side, The Sorcerer's Apprentice in Fantasia.  The song (and story) existed well beforehand, but the iconic imagery created by Disney owns the song completely and it would take someone with balls of steel and a complete lack of sense to try to one up it.  Besides, for a lot of people, the piece owns both Fantasia films anyway.  People don't seem to remember the awesome Rite of Spring segment as much.

True, but I would guess that this dude will forever be associated with Night on Bald Mountain: