Italsofunctionsasthesoundtrackoftheclimacticscenefeaturingthemaincharacter's iconicdrumperformance, repurposingthisstandardbywan T CellandDukeEllingtonwriteranddirectorDamienChazelleincludesthisnumberas a tributetothejazzlegendsandthosethatchasetheirgreatnessbook, endingthepiecewithtwochaoticdrumsolos.
Thesuddenuseofthesongcomesoutofnowhereinthebestpossiblewayasferalleadshiscastmatesin a musicalinterlude.
Everybodyjoinsinonanacapellaperformancethat's bothsurprisinglyperfectforthesceneandsuperfunnyGiventhefilm, 70s setting, theadditionalofthismusicaltimecapsuleoffersyoungeraudiencesthechancetolistento a romanticsingleofYesteryear.
Number 17.
Bestofmylove, theemotions, boogienightsDelvingintotheboisterousdiscoera, boogieNightsfeatures a rousingopeningnumberthatstartsthestoryoffinstyle, theemotions, funandbrassyBestofMyLovebeginstheboldmovieontherightnoteas a craneShotintroducesaudiencestothemaincharactersentering a noisyclub.
Thissequencehas a familiarpieceofrockhistoryguidepeoplethroughitstwistedpath.
Number 15, MadWorld, MichaelAndrewsfeaturingGaryjules.
DonnieDarko.
DonnieDarkostillprovides a hypnoticviewingexperiencetothisday, inwhichmadWorldplays a vitalroleinmakingit a cultfilminoneofthefinalscenes, thevariouscharactersfatesplayoutasGaryjulesvoicesingsoverthemonlyarefamiliarfacesoutfacethemelancholicreworkingoftheTearsforfearstrackisaninspiredchoicetorepresentthetragiccircumstancesofthemovie's characters.
Thisversionofthesongtradesthenewwavesoundfor a strippeddownpianoversionthatpunctuatesoneofthemostemotionalsequencesinthefilmthatwasverywithMichaelAndrewsproduction.
Number 10 Mrliu, DickDaleandhisdeltones, pulpfictionpulpfictionbeginswithtworobbersholdingup a losAngelesdineroncetheyannouncedtheirintentionstothepatrons, DickDale's versionofMrLouwakesuptheaudiencelikethecrackof a whip.
Thismovieutilizesitas a tributetotheCaliforniasettingandthefilmmakersfanofvintagemusic, thefactthatitalsobecameaniconicanthemfortheninetiesmasterpiecesicingonthecakenumbernine, Theend, thedoorsapocalypsenowapocalypsenowbrilliantlybeginswith a viewof a junglecatchingfireafter a napalmstrikescoredbytheDoorsong, Theend, JimMorrison's voiceintroducesthesurrealVietnamfilmin a poeticflourish, servingas a warningaboutthecharacter's impendingdescentintodarkness.
Thissonggivesthefilm a massiveboostforitsfirstsequencenumbersixshoutOtisDayinthenight's AnimalHouse.
TheEisleyBrothersoriginallyrecordedthishitin 1959 slowlybuildingovertheyearsas a popularcallandresponsesongforconcertaudiences.
OnceitwasincludedinthecomedyAnimalHouse, thetrackhad a secondwaveofpopularity, thesceneofthefictionalbandOtisDayandthenightscoveringitfor a togapartythatrampsupwiththismusicalcue, johnBelushiandtheothercastmembersinspiredmorepeopletousethesingleforpartiesandothersportingeventseversince.
As a memorablepartofthisinfluentialseventiescomedyshoutstillexcitesaudiencestodayfromallwalksoflife.
Numberfive, WhereisMyMindpixies, FightClub, bringingthistrippysatireto a close.
WhereismymindwrapsupFightClublikefewothertracks.
Couldyoumetmeat a verystrangetime?
ThenarratorandTylerDurdenisworldcomecrashingdownon a mindbendingconclusionthatneededanextraounceofheft, Seeingbuildingsfallin a surrealandexplosiveending.
Afterthisfilm's release, a coupleofyearsafterthemovie's release, thegroupreunitedwith a renewedinterestintheirworkthatcouldbepartlytracedtothisdarkcomedy.
Numberfour, BorntoBeWild, SteppinWolf, EasyRider, BorntoBeWildAlreadyatrockingguitarsand a coolsound.
Theimagesofbikerstaking a tripacrossthecountryperfectlyencapsulatedthetracksfreewheelingattitude, Dennishopperandpeterfondarodechoppersto a numberoffamousrecordings, butthisonestuckinthegreaterconsciousness.