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100 Best Songs from Musicals

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The classic Broadway musical Anything Goes features a score by Cole Porter, original book by Guy Bolton and P G Wodehouse with heavy revisions by Howard Linsday and Russel Crouse. Concerning itself with the madcap antics about a transatlantic ocean liner headed to London from New York, Anything Goes has been revived multiple times since its 1934 debut, it has been filmed twice and continues to be a favourite of school and community groups around the world. It has also won the Tony award for Best Revival of a musical TWICE! 94. Merrily We Roll Along Fun Home is a relatively new show on the musical theatre scene. Adapted by Jeanine Tesori and Lisa Kron from Alison Bechdel’s graphic novel of the same name, Fun Home was nominated for twelve 2015 Tony Awards, winning five including Best Musical. 99. Elisabeth Disney's "Pocahontas" represented a qualitative step down from previous hits like "The Lion King" and "Beauty and the Beast," but that didn't mean it couldn't still provide fans with a timeless tune. "Colors of the Wind" won Best Original Song at the 1996 Academy Awards. The song was written by Stephen Schwartz and Alan Menken, sung by Judy Kuhn in the film, and by Vanessa Williams during the end credits—and on the hit single.

Fresh from persuading Serge Gainsbourg not to release their version of ‘Je T’Aime…Moi Non Plus’, Brigitte Bardot again teamed up with the oily old goat to release this wonderfully louche, hypnotic (and occasionally tuneless) tribute to the gun-toting outlaw couple. It’s been covered by sometime Go-Go Belinda Carlisle and sampled by Kylie Minogue. Like an American version of Serge Gainsbourg and Brigitte Bardot, Nancy and Lee were a sultry pairing who radiated with danger and mysterious sexual allure. No less than on the mythology referencing ‘Some Velvet Morning’ which has gone on to become a much covered alternative duet (perhaps most famously by Primal Scream and Kate Moss). The Everly’s celestial harmonies were goose bump inducing, and would later influence everyone from The Beatles to Fleetwood Mac. ‘Bye Bye Love’ pushed those voices front and centre. They were so lush in fact that you could forget that they were singing lines like “ I feel like I could die”. LA vocal group The Platters made their name with this – their second and biggest hit, a US No.1 and UK No.5. A showy and expansive number, ‘The Great Pretender’ inevitably found favour with Freddie Mercury who once more took it into the UK top 5 in 1987, out-camping The Platters no doubt but possibly not wringing out similar emotion.French composer Maurice Jarre produced iconic instrumentals For 1965's "Doctor Zhivago," including "Lara's Theme," a tune that would later provide the basis for the hit song, "Somewhere, My Love." The film won five Oscars at the 1966 Academy Awards, including Best Original Music Score. Recorded when the remarkable Anka – who also managed to co-write it – was only 15, this perky slice of doo-wop turned into one of the biggest selling singles of all time, apparently shifting nine million units. Almost from the get-go it established the Canadian Anka as a mainstream crooner who continues to record and perform into his 70s.

A shimmering slice of 60s Britannica which honed in on a vision of the capital via the narrative grace of Ray Davies. Dave Davies’ lilting guitar chords corralled the tale of “ Terry and Julie” (Terence Stamp and Julie Christie) and future histories yet to be written with a waltz-like grace and a timeless charm. Everyone from Blur to The Libertines owes a reasonable debt to this slice of wistful British storytelling. The Shangri-Las were a cut above most early ‘60s girl groups, a bit more aloof, a bit cooler, a shade more chic, and it was hard for teenage boys to hear this tale of a cool, renegade motorbike gang member who gets Betty against her parents’ wishes without wanting to be him. Until he died in massive accident, that is. Tragic storytelling at its succinct best.The seventh "Fast and Furious" movie delivers no shortage of exotic locales, jaw-dropping action sequences, and explosive showdowns. The music is similarly guaranteed to get the adrenaline flowing, featuring a range of contemporary hip-hop and electronic dance music superstars like Flo Rida, David Guetta, Wiz Khalifa, and DJ Shadow. This one is a guaranteed party pleaser. Elaine Paige says:“I wasn’t at all surprised to see ‘One Day More’ take the top spot. It’s the ultimate, ultimate Les Misérables show tune; a superb ensemble number that leaves you with goosebumps because you get to hear so many refrains from the show in this one song.”

Recorded by several obscure artists before and numerous big names after (from Little Richard, Eddie Cochran and Gerry & The Pacemakers to Elton John and Ten Years After), this raucous ditty was made most famous by Lewis, who less tinkles the ivories than spanks them remorselessly. Laughing Len once sang in a honey-smeared pop register before trilbies and dodgy accountants had taken their toll. Here on his debut album ‘Songs Of Leonard Cohen’ he bids farewell to Marianne, his love and muse throughout the 60s, with a pristine bit of poetry and a typically stately and swinging folk-pop arrangement. Last week we asked you to vote for your favourite musical theatre numbers. After thousands of submissions, we've compiled your top 100 showtunes of all time below.Habitually warring brothers Phil and Don regularly put aside their differences (or at least put them on ice for a couple of minutes) to record glorious close-harmony pop that influenced generations of bands from The Beatles to The Beach Boys to Simon & Garfunkel and beyond. With tremolo guitar from Chet Atkins, ‘All I Have To Do Is Dream’ is one of the decade’s more saccharine options, but proved how vital harmonies could be to a song’s DNA. Proclaimed as a watershed moment in musical theatre history, Show Boat (originally staged in 1927) with a score by Jerome Kern and lyrics by Oscar Hammerstein II, based on Edna Ferber’s novel, was the first time that the music worked together with the play driving the story, rather than being a review. It’s themes of racial prejudice and tragic enduring love and its score that included songs like Can’t Help Lovin’ Dat Man, Make Believe and Ol’Man River made it a hit that continues to entertain audiences today. French composer Maurice Jarre produced iconic instrumentals For 1965's "Doctor Zhivago," including "Lara's Theme," a tune that would later provide the basis for the hit song, "Somewhere, My Love." The film won five Oscars at the 1966 Academy Awards, including Best Original Music Score.

#1. The Sound Of Music

- Highest rank on Billboard 200: #1

That towering riff – for one thing, it came to Keith Richards in a moment of clarity after briefly coming round from an alcoholic stupor; for another, Richards always planned to replace it with a horn section. In the meantime he hepped up his riff with a fuzzbox to keep it warm until the real players came along. Well, thank goodness they never did. Hammond organs, Milton-inspired lyricism (“ trip the light fandango”) and nods to Bach might not seem the perfect recipe for a hit, but 1967 was a more forgiving place than 2012, and Procul Harum’s debut single was a mega, mega hit. Since covered over 1,000 times, it’s the most played song in public places as well as the most played song on British broadcasting ever. A hymn-like universal anthem which King penned with songwriting legends Leiber and Stoller, that was not only later to be covered by Jimi Hendrix but also used for the classic coming of age film of the same name and would become a by-word for 50s nostalgia.

Olivia Rodrigo: “deja vu”

Did your favourites make the Top 100? Don’t forget to let us know your thoughts in the Comments section below. 100. Fun Home Once and For All" from Newsies. 62. "Revolting Children" from Matilda. 63. "Santa Fe" from Newsies. 64. "Satisfied" from Hamilton. 65. "She Used To Be Mine" from Waitress. 66. "Singin' in the Rain" from Singin' in the Rain. 67. "Til I Hear You Sing" from Love Never Dies. 68. "Tomorrow" from Annie. 69. "The Room Where it Happens" from Hamilton. 70. "Gold" from Once. 71-80 Based on the counter-culture novel by Leopold von Sacher-Masoch, the VU’s tale of S&M curdled with its own bedraggled charm, thrusting forth with John Cale’s droning viola and Lou Reed’s dully ceremonial vocal. Gothic before “goth” existed. An utterly tragic love story of two doomed lovers from rival American Indian tribes who drown in each other’s arms. It should be a swooning country ballad, instead it’s a jaunty jive, under-laid with some comical “natives American tribal chanting” (sung, in part, by the whiter than white George Jones). Is it a harpsichord? Is it a half-speed electric piano? Is it… actually, yes, it’s a half-speed electric piano. One of George Martin’s few purely musical contributions to the Beatles canon adds a strange, but successful, touch to John Lennon’s understated piece of whimsy about his childhood – in Lennon’s view, the most mature piece he’d written by that point.

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