The lights dim. The music fades up. Everyone looks to the doorway to see what all the fuss is about. “Who’s that?” they wonder. “And what is this awesome song?”
It’s you, of course, accompanied by your iconic entrance music.
These are the songs that play when you arrive at the party, when you’re walking down the street or when you’re just feeling cool and confident. They tell everyone you feel like a million bucks, and that you’re worth a whole lot more. They’re totally badass, just like you. They announce to the world that you’re here and ready to do your thing.
Because I am a pisces and a chameleon and look different in every photo.
My ultimate pump-up song. This white-hot punk detonation obliterates everything in its path. It makes me want to kick the crap out of my adversaries, then bust out a wailing guitar solo on top of their graves.
With a DIY recording ethos, a penchant for making lo-fi recordings sound timeless and a raw talent for writing the kinds of self-reflective songs that would make Leonard Cohen squirm, it only makes sense that Jack White took an interest in releasing music by Bay Area treasure Greg Ashley. At the risk of coming off as subversive or contrarian, I love the idea of Ashley’s “Awkward Affections” being my personal walk-up song because it’s a great reminder that no matter how bad you have it, someone else has it much worse. And when we’re walking up to pick up a bat and swing at a ball, it’s a good idea to let a song like this give you perspective in case you strike out.
Like the boldest of soul sisters, Tina Turner, I’m frenetic, spout off “things and stuff and stuff and things and … stuff” and invest an exhausting amount of excitement, heart and authenticity into everything I pursue. It’s my thing; I’m gonna do what I wanna do. Cue the B-S-S!
I like to inspire terror with my entrances.
I don’t know if I will ever come in contact with a non-bootleg version of the full 16-minute version of this song, so for that reason, it has attained almost mythical status for me. It’s a rare, alternate version of a B-side that came out on West End Records, of which I’m a big fan. I’m also a huge fan of Arthur Russell, and find tons of inspiration in his music and life story (a kid from rural Iowa who moved to NYC and started making disco/experimental solo music with his cello). Lastly, I love the groove of this song, with its absurd delay (even on the bass guitar), Rhodes piano and great one-line hooks. It gets me bouncing in my seat every time I hear it. I’d be honored if this song played every time I was “walking down the street with new shoes on my feet.”
This would be one of my fun entrance songs. I used to listen to it when I first started interning in the music industry. It mixes optimism and swagger with the tough realities of the business.
What better cue music than what might be the most epic-sounding, uplifting theme song ever? And it wasn’t written by Basil “Conan the Barbarian” Poledouris. Nope, this track was composed by Jack Trombey and performed by the International Studio Orchestra. It originally appeared on a De Wolfe Music Library LP from 1970 called Fourteen Pictorial Sketches For Orchestra No. 2, where it bore the descriptive tagline “Bright, Optimistic Movement.” You’ll probably recognize it from somewhere else, though, because it was plucked from obscurity to be used as King Arthur’s main theme in the classic 1975 film Monty Python and the Holy Grail. With or without coconut hoofbeat accompaniment, it’s glorious and triumphant and not the least bit silly.
Any good entrance should be accompanied by an ample amount of horns.