The 10 best classic rock songs used in movies
Rock and roll has never been too far away from the silver screen. There’s always been the old joke that rock stars have just been pretending to be movie stars, and it’s only natural that some rock giants like Elvis and The Beatles made films about their eccentric lives. Though some artists might like to attempt acting, iconic acts like Aerosmith and Nirvana worked wonders when they brought their main talent to the big screen.
Whether for indie films or cinematic blockbusters, some of the biggest acts in the world contributed tunes that completely fit the scene’s mood. Although it would have been easy to just throw in a traditional musical score for any of these projects, things got way more interesting when the orchestral sounds were substituted for some roaring guitar and screaming vocals.
While some might work well in the moment, the best instances of rock songs used in movies arrive when the music drastically alters the function of a scene. Some of these tunes might have been far from the first choice on paper, but the powerful dissonance between the music and what’s happening on screen complement each other in a strange but brilliant way.
Even though each track wasn’t written about the movie in question, their unique blend of emotional heft and dramatic instrumentation made them destined to enter the film world eventually. The golden rule of movies might be “show, don’t tell”, but sometimes it’s better to have a good tune to nudge the viewer in the right direction.
10 best classic rock songs used in movies
‘I Don’t Want to Miss a Thing’ – Armageddon (Michael Bay, 1998)
Depending on how they’re counted, Aerosmith was going through their third or fourth renaissance by the time they reached the ‘90s. Despite grunge taking over the mainstream and leaving hair metal in the dust, ‘The Bad Boys From Boston’ were reaching a new level of fame thanks to ballads like ‘Cryin’ and ‘Crazy’. Throughout their decades of decadence, they never had a number one hit, and that’s exactly what they got once Michael Bay became involved.
When casting for his infamous movie about oil drillers saving the world by going up into space, Liv Tyler got her father involved for the soundtrack, working with songwriter Diane Warren for ‘I Don’t Want to Miss a Thing’. Although it might be a bit too saccharine for the same band that made ‘Walk This Way’, the melody is pitch perfect, as Liv’s Gracie falls in love with Ben Affleck’s AJ before he sees Earth for what could be the final time.
Granted, is it more than a little awkward knowing that this woman’s romantic relationship is being soundtracked by her real-life father? Most definitely. When all of the bells and whistles are removed, this is one of the more touching moments from a band that had all but solidified themselves as living legends of classic rock.
‘Tiny Dancer’ – Almost Famous (Cameron Crowe, 2000)
Cameron Crowe has always been the rock star version of a director. Although he may have given the world some of the most iconic romantic comedies of the ‘90s, like Jerry Maguire and Say Anything, Almost Famous was his real labour of love, documenting his time when he worked as a writer for Rolling Stone. The life of a reporter might not be too glamorous, but it’s the sequence with Elton John’s ‘Tiny Dancer’ where he learns to appreciate the little moments.
After travelling around with the fictional group Stillwater, morale is at an all-time low when ‘Tiny Dancer’ comes on the radio. Out of nowhere, the drummer begins singing, after which the entire bus chants along when the chorus comes around. Even though some members are a bit cagey, all of the bullshit that comes with being on the road forever is lifted for one moment.
In what might be the most poetic sequence in the film, Crowe’s stand-in character tells Kate Hudson’s Penny Lane that he has to go home, to which she replies, “You are home”. As much as this doe-eyed kid might want to go back to his suburban life, this is the moment where he finally begins to find his congregation.
‘Something in the Way’ – The Batman (Matt Reeves, 2022)
Batman wouldn’t be considered that much of a music fan if anyone were to look at him. Between nights of fighting crime, Bruce Wayne’s personal life might be preoccupied with finding the next lead in Gotham while maybe popping on Nick Cave now and again. Underneath that cowl is a lonely man, though, and Matt Reeves had a stroke of genius when putting together the soundtrack for The Batman.
Outside of the minimalist score for the movie, Nirvana’s ‘Something In the Way’ bookends the film by checking in on how far Bruce Wayne has come. As we fade into a Gotham that is being swallowed by The Riddler’s actions, Wayne flees into The Batcave with bats flying free, perfectly timed to Kurt Cobain singing, “the animals I’ve trapped have all become my pets”. This version of Bruce is lost, but the film’s end flips the meaning of Cobain’s words on their head.
As opposed to this loner billionaire that feels something is missing from his life, he realises how desperate the entire city is and how he might be one of the only people strong enough to help save it. There’s no guarantee that he will succeed, but no amount of change is going to come without Batman there to help enforce it.
‘The Chain’ – Guardians of the Galaxy Vol. 2 (James Gunn, 2017)
Whoever decided to use classic rock throughout the Guardians of The Galaxy franchise may have been a mad genius. Although Peter Quill in the original Marvel comics never mentioned having a Walkman that played some of the best tunes from the ‘70s, seeing StarLord battle aliens with a banging playlist makes every action scene all the more impressive. Although ‘Hooked on a Feeling’ may have been the first iconic moment from the franchise, the real emotional payoff was saved for the second film.
After being reunited with his “god” father, Ego, Quill realises his dark lineage and chooses to leave his patriarch behind. Though Ego chooses to use Quill as a battery for the rest of his life, seeing his friends nearly dying gives him the strength to carry on, after which Fleetwood Mac’s ‘The Chain’ starts ringing out.
As Stevie Nicks wails in the background, Quill fights off his father with all his might, with every punch seemingly choreographed to the massive tom hits from Mick Fleetwood throughout the verses. Although there might not have been any direct connection to ‘70s AM rock, The Guardians have more than a few common threads with Mac. They might be powerful apart, but they are unstoppable when they come together.
‘Perfect Day’ – Trainspotting (Danny Boyle, 1996)
Any casual watching of Trainspotting is enough to give anyone frayed nerves. Adapted from Irvine Welsh’s iconic book, the tale of the seedy side of England and junkies fixing for a high made for some of the most engaging content of the ‘90s. Although Iggy Pop’s ‘Lust For Life’ provides a nice backdrop for each junkie to stir in, Lou Reed’s ‘Perfect Day’ is enough to make any viewer shed a tear.
When Reed originally wrote the mellow soft rock tune, it seemed to be a tale of the casual pleasures of a good day, from drinking sangria in the park to meeting his love interest. In the context of the film, the lover in question is heroin, soundtracking Ewan McGregor junking himself up almost to the point of an overdose. As he’s flying, Reed’s next verses make the situation feel that much more desperate.
Throughout the chorus and the final verses, Reed’s words about still hanging on and his lover making him think he was someone good read as all the more tragic for McGregor. Some junkies might turn to heroin just because they like getting high, but McGregor seems to be taking it as a substitute for not mentally exploding daily.
‘Born To Be Wild’ – Easy Rider (Dennis Hopper, 1969)
In the early ‘60s, filmmakers were still starting to warm up to using rock music in movies. Although films like A Hard Day’s Night and Blackboard Jungle were made by this point, it wasn’t clear that they were anything more than a gimmick for a passing musical fad. Acts like The Beatles were still on the soft side, though, and rock and roll got a little more grizzly when Easy Rider appeared in theatres.
When choosing music for the film, the original idea for the opening sequence was to have a softer tune soundtracking Peter Fonda and Dennis Hopper riding off on motorcycles. Once Steppenwolf offered up their ode to the road ‘Born to Be Wild’, it fit the scene too perfectly, introducing the world to the gritty side of biker gangs and that internal need to live on the wild side.
Although Steppenwolf may have gained mountains of exposure outside of the film, using the tune in films has since become a bit of a cliché, paired alongside tracks like George Thorogood’s ‘Bad to the Bone’ to depict a character that is not to be trifled with. If countless films have used one song to soundtrack a story beat, though, that’s more of a testament to the power of the tune than anything else.
‘Gimme Shelter’ – The Departed (Martin Scorsese, 2006)
It’s about time someone says it: Martin Scorsese has an unhealthy relationship with The Rolling Stones. From featuring them prominently in his films to even producing their massive concert film Shine a Light, the man behind Goodfellas and The Last Temptation of Christ has perfectly married human excess to the seedy sounds of Mick Jagger’s voice. Scorsese films have countless versions of Stones classics, but the most iconic always comes back to The Departed.
Across the riveting crime drama, Scorsese depicts some of the most visceral violence used in movies and reveals the seedy underbelly of crooked cops in Boston. Although The Dropkick Murphys’ Celtic ode to their city does a better job of putting the viewer in the world of Boston, ‘Gimme Shelter’ is a better encapsulation of what the world is like.
From the untouchable evil of Jack Nicholson’s Frank Costello to the meagre thugs walking along the street, the ominous guitars from Keith Richards set the perfect mood, as if the music is slowly rising from the sewer to warn everyone about where the film is heading. ‘I’m Shipping Up To Boston’ may have gotten fans in the spirit of The Departed, but there’s no going back once this track starts playing.
‘Free Bird’ – Kingsmen: The Secret Service (Matthew Vaughan, 2014)
Kingsmen: The Secret Service has been one of the more forward-thinking action films of the past decade. Being an almost spoof on the classic James Bond tropes, seeing Taron Egerton kick ass in a dapper suit was a breath of fresh air from the different Mission Impossible movies coming out concurrently. Although Egerton’s Eggsy might be the film’s star, Colin Firth’s Harry gets the best scene in the movie once the villainous Valentine’s chips start doing their thing.
In order to rule the world, the chips in question are lodged in people’s brains and cause them to exact violence on each other at the push of a button. As Harry leaves a Westboro Baptist Church meeting, the cathedral quickly turns into a war zone, with Lynyrd Skynyrd’s ‘Free Bird’ soundtracking the bloodbath.
Done in one long take, the solo section of the tune plays out for the entire generation, and Firth finds new and interesting ways to kill people, from headshots to using other corpses as a shield to using a flag as an impromptu javelin to impale his victims. The visuals might look like something straight out of a graphic video game, but the fact that everything’s done in one shot lets the audience appreciate the adrenaline rush from one of the kings of Southern rock.
‘Bohemian Rhapsody’ – Wayne’s World (Penelope Spheeris, 1992)
As years go by, Queen very well might surpass The Beatles in terms of cultural longevity. Although the Fab Four have their place in history, every now and again, a movie, commercial, or other media outlet will adopt one of Queen’s classics to remind everyone how brilliant their music really is. Though ‘Don’t Stop Me Now’ and ‘We Will Rock You’ have their own place in media, nothing will ever top Freddie Mercury’s masterpiece, ‘Bohemian Rhapsody’.
When working on music to include in the film Wayne’s World, Mike Myers was told that they were going to use a different track for the car jamming scene but insisted on using ‘Bohemian Rhapsody’ for the final product. As soon as the operatic section, everyone in the car has their special part to sing in the overdub sections before eventually erupting once Brian May’s guitar riff kicks in.
Though Freddie Mercury was entering his final years with AIDs, he was actually shown a version of this scene shortly before his death and loved what Myers had come up with. Though Myers would have been easily happy with playing a small role in Queen’s legacy, the band ended up thanking him later by giving him a bit part in Bohemian Rhapsody, even referencing the scene he made famous by calling one of their tunes “the kind of song teenagers can blast in their car and bang their heads to”.
‘The End’ – Apocalypse Now (Francis Ford Coppola, 1979)
All moviegoers’ collective memories of the Vietnam War tend to be soundtracked by classic rock. Going through some of the biggest war movies of all time, the scenes of soldiers lost in the jungle struggling to survive have always been soundtracks by classics like CCR’s ‘Fortunate Son’ or Jimi Hendrix’s ‘All Along the Watchtower’. Once the glamour is stripped away, war is hell, and Francis Ford Coppola had the perfect backdrop when making Apocalypse Now.
As viewers are treated to sulfur rising in the air, the faint sounds of The Doors are heard in the background as Jim Morrison talks about finally coming to the end of the line. Although the striking imagery of jungles and marshland being destroyed by bombs would have been enough, the real focus is Martin Sheen’s character, who listens to the tune in one of the cabins and slowly begins losing his mind, making different poses before finally succumbing to the madness that comes with seeing the loss of humanity.
As Sheen loses more and more of his mind, the music follows him, building to a gigantic crescendo as he lies a shell of a man on his bedroom floor during the song’s final moments. The world might not have ended after The Vietnam War came to a close, but when all of those soldiers came home, any sense of innocence had been stripped away long ago.
