9 Very ‘90s TV Theme Songs

The 1990s represented an interesting transitional point for TV series and theme songs. While network television still dominated the broadcast landscape, cable television series were growing in popularity and would lead to the pay-TV and streaming revolutions of the 21st century. TV theme songs also started shifting away from hokey intros of years past. There began to be a more common use of popular songs as themes, and on the flip side there were attempts to broaden the scope of musical possibilities.

The following very ‘90s TV themes list was not curated simply based on popularity. These selections represent aesthetics that reflect the musical styles of the decade. We’re also excluding previously released songs – this song list is all about original music done for the shows. And avoiding as much cheese as possible.

Beverly Hills, 90210

This popular theme song exemplified a ‘90s aesthetic that became more common—creating a pop-rock sound that sounded just “edgy” enough to make it feel more rock ‘n’ roll than it really was. It starts with a couple hard driving chords but then turns into a melodic confection meant to please its teenage fandom. The guitar melody sticks in your head. The Season 1 theme was more funky and dance-oriented, so for Season 2, composer John E. Davis amped up the guitar and improved it tremendously.

Buffy the Vampire Slayer

Most rock themes for ‘90s shows tried not to go to hard, but this went the opposite. Goth in mood, punkish in vibe, it builds in energy and intensity, galloping to a clamorous climax. Pop-punkers/geek rockers Nerf Herder captured the dark spirit of the show in unrelenting fashion, which made this refreshing. For Season 3 they got to do a more polished version. You can decide which sounds better.

Early Edition

The ‘90s saw some TV composers take a less conventional approach by emphasizing percussive, woodwind, and other sounds over standard string orchestrations or guitar or synthy styles—notably, Northern Exposure, Will & Grace, and Early Edition. This show was about an accidental do-gooder who gets the next day’s paper today and can help people avoid tragedy. Snuffy Walden’s brisk theme is rare in that it’s propelled by what sounds like marimba and Eastern-sounding guitar, with flute wafting in the background. Subsequent season intros added a voiceover to sell the concept to people, so stick with the original.

Friends

Although some might think that “I’ll Be There for You” was a previously existing song by The Rembrandts, it was actually written by Michael Skloff. The showrunners reportedly wanted to get R.E.M.’s “Shiny Happy People,” but after frontman Michael Stipe declined an offer, Skloff conjured this theme song. It had a power-pop sound that very much fit in with the time of—slightly retro, a touch of the ‘60s, but also modern sounding. Interestingly enough, it charted slightly lower than The Rembrandts’ other Top-20 hit “Just the Way It Is, Baby,” but this is the song everyone knows.

In Living Color (Season 3)

Heavy D and the Boyz’s intro to the famed sketch comedy show infused a hip-hop style with new jack swing instrumentation. That latter genre gained popularity with some series during the ‘90s. A lot of hip-hop made its way into theme songs, but this avoids the blantant cheesiness of something like The Fresh Prince of Bel-Air. Another lively theme in this vein was the one for MAD TV.

Law & Order

One of the most distinctive series themes of all time—which has also been used for three of the spin-offs—Mike Post’s moody, enigmatic theme tried something different. In this case, the prolific composer used twangy guitar, clarinet, organ, and snare rim to generate a feeling of nocturnal uneasiness befitting the dramatic black and white photos intercut into one of the most memorable series openings of all time.

South Park

Of all the groups that fell under the umbrella of ‘90s alternative music, Primus were among the zaniest. The trio also created one of the most unorthodox TV themes ever. It’s like American funk meets German oompah music, featuring Les Claypool’s monotone singing and the children’s jarring harmonies. It completely captures the nihilistic feeling of the show and turns the idea of a conventional TV theme on its head.

Twin Peaks

Angelo Badalamenti’s theme to David Lynch’s surreal murder-mystery series glides along tranquilly with twangy guitar and dreamy keyboards, never hinting at the ominous undercurrents running through the narrative. It was a good intro to Lynch’s series which, despite only being on initially for two seasons, developed a massive cult following and later, a long-awaited 2017 sequel series. The late Badalamenti was known for scoring a majority of David Lynch’s feature films.

The X-Files

Composer Mark Snow was already a veteran of Hollywood by the time he was commissioned to write the theme year to Chris Carter’s popular sci-fi series. Believe it or not, Snow had previously come up with themes for T.J. Hooker, Crazy Like a Fox, and Paper Dolls. Thus, doing the haunting X-Files theme was a refreshing 180 with its ethereal eerieness. One will hear this iconic instrumental and immediately recall Carter’s spooky show.

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