star trek enterprise music theme

Star Trek: Enterprise Theme Song Lyrics

Why Star Trek: Enterprise Had THAT Terrible Theme Song

"Where My Heart Will Take Me," the opening theme to Star Trek: Enterprise, had reason to be scorned. Over time, however, its reputation has improved.

Among Star Trek: Enterprise ’s more contentious quirks was its opening theme song: a reworked version of Rod Stewart’s “Faith of the Heart” entitled “Where My Heart Will Take Me.” It’s very much a product of its time, and in the ensuing years has become something of a guilty pleasure among the Star Trek faithful. It’s the kind of infectious earworm that takes days to get rid of, and it’s definitely an anomaly among Star Trek themes. Fans at the time did not take it well.

Before Enterprise , Star Trek shows stuck resolutely to classic orchestral themes. That started with Alexander Courage’s iconic introduction to the original Star Trek , and was emulated by The Next Generation, Deep Space 9 and Voyager. Star Trek: The Next Generation appropriated Jerry Goldsmith’s theme from Star Trek: The Motion Picture, which is telling: all of them aimed for an operatic sound indicative of epic theatrical films. When Enterprise began, the producers wanted to break from that tradition in a big way.

RELATED:  Star Trek's Longest Running Series, Revealed

It Was Supposed to Help Enterprise Bridge Our Present with Trek’s Future

Enterprise was posited as a prequel to the original series: detailing the early days of humanity’s exploration of the stars, and the eventual formation of the Federation. Producer Brannon Braga told Starlog magazine that he felt the era had more unexplored dramatic potential than something closer to the original series, and that the characters would respond to challenges differently than the characters in other Trek series had. The song was intended as part of that principle: a firm break from what Trek had become, but also a link between the present day and the bright future the franchise promised.

That, however, could have found better expression elsewhere. The song adopted a soft-rock power ballad format, presumably in order to reach as wide an audience demographic as possible. But the supposedly inspiring lyrics fell flat against Enterprise’s impressive visual title montage of real-life heroes like Amelia Earhart and Gus Grissom. And while the orchestral scores from earlier Trek shows felt evergreen, this one dated itself almost as soon as it had dropped.

RELATED:  Star Trek: The Next Generation - Why the Beloved Series Ended

The Song Itself Had a Difficult Background

The choice of song was strange too. Rather than commissioning their own, the producers simply reskinned the Stewart song with new lyrics, giving it the air of a cheap knock-off. Stewart himself – a notorious womanizer – left his second wife less than a month before the song hit the charts, rendering its heartfelt tone disingenuous from the start. A few hastily added lyrics weren’t going to change that. Furthermore, Stewart wrote it for Patch Adams , the infamous Robin Williams tearjerker reviled for its excess sentimentalism.

In short, it felt very corporate: assembled for reasons that had little to do with Star Trek and presented as a change of pace that went badly off the mark. Trekkies responded as Trekkies sometimes do: with anger, rejection and organized demands to replace the song with something else. Enterprise stuck with it, however, and kept it as part of the opening credits for the whole of its run.

The song has since attained a kind of scruffy charm among the Trek faithful, and an apt companion to Enterprise, which similarly took some time for parts of the Star Trek community to warm to. Today the two are intertwined, and the high quality of the show itself lends the comparatively clunky theme song an affection it might otherwise merit. It even earned a playful dig on Star Trek:  Lower Decks   -- as sure a sign as ever that Trekkies are ready to forgive if not forget.

KEEP READING:  Why Star Trek: Enterprise's Series Finale Is So Hated by Fans

• Songwriter Interviews
• Song Writing
• Fact or Fiction
• They're Playing My Song
• Songfacts Pages
• Songwriting Legends
• Songfacts Podcast
• Amanda Flinner
• Bruce Pollock
• Corey O'Flanagan
• Dan MacIntosh
• Laura Antonelli
• Leslie Michele Derrough
• Maggie Grimason
• Nicole Roberge
• Roger Catlin
• Shawna Ortega
• Stephanie Myers
• Trevor Morelli

Faith Of The Heart by Rod Stewart

Songfacts®:

• This song was written by accomplished American songwriter Diane Warren. It was originally recorded by Stewart for the 1998 Robin Williams movie Patch Adams , where it fit with the theme of believing in yourself.
• In 2001, the song was re-recorded by British opera singer Russell Watson under the title "Where My Heart Will Take Me," to be used as the theme song for Enterprise , the fifth TV series in the Star Trek franchise and a prequel to the original series. Like many other aspects of the Enterprise series, the choice of this song as the theme music became a point of controversy among longtime Star Trek devotees. In 2003, Watson's version was remixed to coincide with the show's rebranding as Star Trek: Enterprise . Ironically, this livelier mix of the theme song came as the plot of the series itself took a darker turn.
• Watson performed a slightly edited version of the song during the opening ceremony of the 2002 Commonwealth Games in Manchester, UK. >> Suggestion credit : Joshua - Twin Cities, MN, for all above
• More songs from Rod Stewart
• More songs written by Diane Warren
• More songs about confidence or courage
• More TV show theme songs
• More songs used in movies
• More songs from 1998
• Lyrics to Faith Of The Heart
• Rod Stewart Artistfacts

Comments: 1

• Diane from Walnut Grove, Al I am looking for both Sheet Music and CD for the song: "Faith of the Heart" by Rod Stewart. I would love to find a dependable/honest/reasonable site to purchase this song with Sheet Music and CD Can anyone help me??????

More Songfacts:

Mr. Tambourine Man Bob Dylan

Bob Dylan's original version of "Mr. Tambourine Man," released on his album Bringing It All Back Home, has no tambourine, just guitars and harmonica.

Zombie The Cranberries

"Zombie" by The Cranberries is about an IRA bombing in England that killed two children.

Fields Of Gold Sting

Sting wrote "Fields of Gold" after buying a house near a barley field and enjoying the majestic sunsets.

Love the Way You Lie Eminem

In 2010, the biggest-selling song in the UK was "Love the Way You Lie" by Eminem.

Don't Stop Believin' Journey

The "Don't Stop Believin'" resurgence started when the Journey song was used in a roller skating scene of the 2003 movie Monster.

Dirty Work Steely Dan

"Dirty Work" is one of the few Steely Dan songs not sung by Donald Fagen. The lead vocal is by David Palmer, who sang on two tracks from their debut album.

Editor's Picks

Joe Ely Songwriter Interviews

The renown Texas songwriter has been at it for 40 years, with tales to tell about The Flatlanders and The Clash - that's Joe's Tex-Mex on "Should I Stay or Should I Go?"

Dick Wagner (Alice Cooper/Lou Reed) Songwriter Interviews

The co-writer/guitarist on many Alice Cooper hits, Dick was also Lou Reed's axeman on the Rock n' Roll Animal album.

Gavin Rossdale of Bush Songwriter Interviews

On the "schizoid element" of his lyrics, and a famous line from "Everything Zen."

Album Cover Inspirations Song Writing

Some album art was at least "inspired" by others. A look at some very similar covers.

Danny Clinch: The Art of Rock Photography Song Writing

One of rock's top photographers talks about artistry in photography, raising funds for a documentary, and enjoying a County Fair with Tom Waits.

Chris Frantz - "Genius of Love" They're Playing My Song

Chris and his wife Tina were the rhythm section for Talking Heads when they formed The Tom Tom Club. "Genius of Love" was their blockbuster, but David Byrne only mentioned it once.

Songfacts® Newsletter

A monthly update on our latest interviews, stories and added songs

Information

• Terms of Service
• Our Privacy Policy
• Google Privacy Policy
• Songfacts API
• Music History Calendar
• Song Licensing
• Affiliate Disclosure
• Privacy Manager
• X (Twitter)

Contribution

• Message Boards
• Songfacts Writers

©2024 Songfacts, LLC

We will keep fighting for all libraries - stand with us!

Internet Archive Audio

• This Just In
• Grateful Dead
• Old Time Radio
• 78 RPMs and Cylinder Recordings
• Audio Books & Poetry
• Computers, Technology and Science
• Music, Arts & Culture
• News & Public Affairs
• Spirituality & Religion
• Radio News Archive

• Flickr Commons
• Occupy Wall Street Flickr
• NASA Images
• Solar System Collection
• Ames Research Center

• All Software
• Old School Emulation
• MS-DOS Games
• Historical Software
• Classic PC Games
• Software Library
• Kodi Archive and Support File
• Vintage Software
• CD-ROM Software
• CD-ROM Software Library
• Software Sites
• Tucows Software Library
• Shareware CD-ROMs
• Software Capsules Compilation
• CD-ROM Images
• ZX Spectrum
• DOOM Level CD

• Smithsonian Libraries
• FEDLINK (US)
• Lincoln Collection
• American Libraries
• Canadian Libraries
• Universal Library
• Project Gutenberg
• Children's Library
• Biodiversity Heritage Library
• Books by Language
• Additional Collections

• Prelinger Archives
• Democracy Now!
• Occupy Wall Street
• TV NSA Clip Library
• Animation & Cartoons
• Arts & Music
• Computers & Technology
• Cultural & Academic Films
• Ephemeral Films
• Sports Videos
• Videogame Videos
• Youth Media

Search the history of over 866 billion web pages on the Internet.

Mobile Apps

• Wayback Machine (iOS)
• Wayback Machine (Android)

Browser Extensions

Archive-it subscription.

• Explore the Collections
• Build Collections

Save Page Now

Capture a web page as it appears now for use as a trusted citation in the future.

Please enter a valid web address

• Donate Donate icon An illustration of a heart shape

Star Trek - Enterprise - Theme Song

Audio with external links item preview, share or embed this item, flag this item for.

• Graphic Violence
• Explicit Sexual Content
• Hate Speech
• Misinformation/Disinformation
• Marketing/Phishing/Advertising
• Misleading/Inaccurate/Missing Metadata

plus-circle Add Review comment Reviews

5,307 Views

6 Favorites

DOWNLOAD OPTIONS

In collections.

Uploaded by PurpleSym on February 7, 2019

SIMILAR ITEMS (based on metadata)

Star Trek: Enterprise (soundtracks)

• View history

To date, three Star Trek: Enterprise soundtracks have been released since the series premiered in 2001 .

Releases [ ]

Other soundtrack releases featuring enterprise score [ ].

The Story Behind The Star Trek Franchise's Most Controversial Theme Song

It's hard to imagine there are many Trekkies in the world who are immensely fond of Russell Watson's rendition of "Where My Heart Will Take Me," the theme song to "Star Trek: Enterprise." Imagine if Rod Stewart were straining to produce a particularly stubborn bowel movement, and you can hear the gravelly strains of Mr. Watson's vocals. The insipid lyrics wax elegiac about the progress we've made "getting from there to here," and how the singer's "time is finally near." No one can hold back the song's narrator as he has "faith of the heart." Nothing's gonna bend or break him. The effect of the song is more or less equivalent to a black-bordered inspirational poster hung on a corporate office wall next to a cubicle. You have strength of the soul. 

One might be able to see why the makers of "Star Trek: Enterprise" wanted a pop song, with lyrics, to lead into their new 2001 TV series. The previous "Star Trek" shows all began with bold, orchestral themes that evoke the excitement and exhilaration of jetting off into the cosmos. "Enterprise" was to be the fourth new "Trek" series in 14 years, and would be the first to run by itself since the debut of "Star Trek: Deep Space Nine" in 1993. The series wanted to set itself apart, and a pop song seemed like the way to go. 

In the helpful oral history book "The Fifty-Year Mission: The Next 25 Years: From The Next Generation to J. J. Abrams," edited by Mark A. Altman and Edward Gross, the shows creators, writers, and directors all talked about the theme song and what led to their (dubious) decision to include Russell "The Voice" Watson's dulcet groans into official "Star Trek" canon. 

It's been a long road...

I didn't mention Rod Stewart above by accident. "Where Will Heart Will Take Me" actually began its life as a 1998 Stewart song called "Faith of the Heart," written by serially Oscar-nominated songwriter Dianne Warren. It was initially penned for Tom Shadyac's execrable, treacle-smeared Hollywood biopic "Patch Adams," and the song's ultra-sentimental tone perfectly matches the corniness of the movie itself. "Faith of the Heart" hit #20 on the Billboard Adult Contemporary charts, and peaked at #4 in Canada. A 1999 cover by Christian/Country artist Susan Ashton made it as far as #51 on the Hot Country Songs chart. 

Russell Watson began his singing career as a mere lad and began winning radio singing contests in his 20s. In 1999, he sang "God Save the Queen" at the rugby Challenge Cup Final at Wembley Stadium, and England really took notice. Two years later, Watson released his first album, "The Voice" (not related to the TV game show of the same name) and it was a massive success; "The Voice" is the first album to hold the #1 spot on both the U.S. and U.K. classical charts at the same time. Watson, lacking in the "stuffy" pretensions of modern opera and willing to sing pop songs, gained the nickname of "The People's Tenor." He was also called, rather theatrically, "The Voice," after that first album. In short, he was hot s*** in 2001.

Brannon Braga and Rick Berman, the creators of "Star Trek: Enterprise," likely knew all about Watson and his cresting popularity. The two wanted a pop song — mostly at Berman's insistence — but, as it turns out, not that pop song. Braga remembers what he wanted to use, and how awful he thought "Where My Heart Will Take Me" was.

Getting from there to here...

Braga originally wanted a temp track they were using to become the actual "Enterprise" theme song. He was a big U2 fan, it seems. He was not, however, a fan of Russell Watson. Braga said: 

"Rick and I felt that a song would set the slightly more contemporary feeling we were going after with Enterprise. For the longest time, we had a temporary song we cut the main titles to, U2's 'Beautiful Day.' If we had used that—or could have afforded it-that would have been a great song. Those main titles with U2 are amazing. It's hip and cool, whereas the song we ended up with is awful. I'm a big fan of Diane Warren, she's a great songwriter, but this particular song and the way it was sung was tacky." 

For the record, "Beautiful Day" doesn't really have the "bold" qualities of classic "Star Trek" orchestral openings, but it is a sight better than what we got. Braga continued: 

"I still cringe when I hear it and, by the way, I think the song had a lot to do with people's adverse reaction to the show. If you look at the main titles themselves, it's a really cool sequence. But the song is awful, just awful." 

If it was that awful, why was it selected as the theme song for "Enterprise"? Berman revealed that it was the culmination of ideas that all seemed great at the time, but that ultimately combined very poorly. Opening montage, lyrics about progress, talented songwriter, hot pop singer. It seemed like all the pieces were correct, and everything was on track to be great. They could reach any star.

It's been a long time...

Berman remembers the process well. He said: 

"This is another example of my being stubborn, right or wrong. I thought it would be nice to have a theme song. Nobody had ever done it before. I knew that I wanted the animation at the opening instead of just being the flying-through-space stuff that had existed on all the other 'Star Trek' shows. But I wanted it to be sort of a compilation of the science and the people that led up to the space flight. Our visual effects people put together an amazing visual montage. Then we went to a very famous, contemporary composer named Diane Warren, who's written huge hits."

So far, so good. For the record, the opening montage is wonderful. It begins with footage of the first sailing ships on Earth in long-ago times, and quickly walks the audience through the history of navigation. There is a three-masted sailing vessel, a modern ship, a space shuttle. At some point, the montage passes from real-world ships into the fictional crafts of "Star Trek." It ends with the title vessel, warping into adventure.  

Berman recalls Warren:

"...[W]ent through a whole bunch of songs and we came up with this tune that she had written. The lyrics seemed perfect. Then she got all excited, there was a British singer named Russell Watson and he was a very hot performer — kind of semi-operatic and pop performer — and he agreed to sing it. It basically spoke to exactly what we were looking for a dream of going out into the unknown and the whole idea of bringing one's heart to what matters. We recorded the song and put it to the animation and everybody thought it was terrific. And the audience hated it."

But my time is finally near...

Indeed. The semi-operatic sound of "Where My Heart Will Take Me" was hated pretty much unilaterally. The idea of opening a "Star Trek" show with a pop song wasn't a bad idea in itself, necessarily, but audiences made it quite clear that Watson's wailings weren't wanted. Eventually, at the start of the show's third season, the song was remixed to add more electric guitars and drums, hoping to trick audiences into thinking it was more upbeat. Watson's vocals, perhaps unfortunately, remained. Berman liked the remix. No one else did. He said: 

"In the second or third year, the network said to us, 'Can you rewrite the song and could you make the song hipper?' We left the vocal on, but we did a completely different instrumental with a lot more electric guitars and things to make it a little more rock 'n' roll. I don't know if anybody was truly satisfied with that. I, for one, can tell you that I thought it was a great opening and I'm not alone in that. I don't think I'm in the majority, but I'm not alone." 

Many of the other producers and writers on "Enterprise" were fine with moving away from a Jerry Goldsmith or Alexander Courage-penned orchestral overture, but none of them liked "Where My Heart Will Take Me." Writer Mike Sussman liked the shake-up, but not "kind of shaking it up in many of the wrong ways. Let's say all the wrong ways." Producer Antoinette Stella recalled that everyone was "shocked" when they heard the song at the series' first screening. "Everybody talked about it after we saw the pilot," she said. "Sometimes you try to be different and they work ... and sometimes they don't."

I will see my dreams come alive at night...

Chris Black, one of the staff writers on "Enterprise" noted that the song was perhaps terrible, but that it was ultimately perfect for the tone of the show. It was about aspiring and touching the furthest star, etc. etc. There were worse things in the world that one should reserve their hate for. Black said: 

"If you listen to the lyrics of that song, they're appropriate. Are the lyrics cheesy? Absolutely. But is it saying something about the characters of the Star Trek universe that I think is appropriate? Absolutely. I don't hate it or love it. Everybody hates it. I don't hate it. I hate Nazis. I don't hate the theme song from 'Enterprise.'"

The editor of Film Score Monthly, Lukas Kendall, noted that "Where My Heart Will Take Me" has aged like fine milk. It was derided in 2001 and still has no fans 22 years later. He asked:

"Is there anybody who likes that song? The choice was ridiculed at the time and comes across no better today. I would not be opposed to the use of a song in principle, but it was the wrong one-a Diane Warren power ballad from 'Patch Adams?' Really? Even the producers seemed to hedge when they had the backing track redone for season three, but they had too much invested to dump it entirely."

In the pages of /Film, it was previously written that modern pop music always feels a little out of place in "Star Trek." The franchise takes place in a post-capitalist society. Adding recognizable commercial pop into the proceedings adds an unavoidable corporate element to Trek. Kendall noted the clash between Trek's typically classical bent and its own need for an insufferable power ballad. 

I will touch the sky

Kendall continued: 

"The producers broke one of their own rules: 'Star Trek' has become pop culture, but there is no pop culture within 'Star Trek,' because it punctures the reality. They tried rebranding with a mainstream radio song instead of another 'space theme for nerds,' so to speak — the desperate attempt to reach a bigger audience — but it was cheesy and lame." 

Many years later, the makers of "Star Trek: Lower Decks" got to affectionally (?) take a swipe at "Where My Heart Will Take Me." William Riker (Jonathan Frakes), while serving as captain on board the U.S.S. Titan, liked to while away his free time interacting with the "Enterprise" characters on the ship's holodeck. This was a reference to the final episode of "Enterprise," wherein Riker did that very thing. As he returned to the bridge after one of his holographic sojourns, he idly commented that he loved visiting the past and that "it's been a long road, getting from there to here." Trekkies instantly recognized Dianne Warren's opening lyric. 

It's worth noting that all the "Star Trek" shows to follow "Enterprise" went enthusiastically back to the "space theme for nerds" model, providing each series with a unique orchestral score. The third season of "Stra Trek: Picard" even repurposed Jerry Goldsmith's theme for "Star Trek: First Contact" wholesale.

Fun trivia: in what might have been a fit whimsical irony, "Where My Heart Will Take Me" was used as the wake-up alarm for mission specialist Richard Mastracchio on the Space Shuttle Endeavour  in 2007.

Hearts were broken. Lessons were learned. "Star Trek" will never again have The Voice.

Russell T. Davies Wishes Star Trek And Doctor Who Could Crossover, And Confirmed The Steps He's Taken Steps To Make It Easier

This would be a dream come true.

The first two episodes of Doctor Who Season 14 are currently available for Disney+ subscribers and, if you're a Star Trek fan, they're worth a watch. The Season 14 cast has already been a blast to watch, with new star Ncuti Gatwa leading the way. But, on top of that, the British sci-fi series made a deliberate nod to the Trek franchise that has some excited about a potential crossover. Amidst the buzz, Who showrunner Russell T. Davies talked about his steps to make the crossover easier. 

A little over a year after Russell T. Davies praised Star Trek: Picard , The Doctor implied that he and Ruby Sunday could visit the Enterprise . During a recent interview, Davies added that he'd be up for a mash-up in a recent interview. And it's a detail that confirms why I was so right to be excited for his DW return in the first place. 

Russell T. Davies Changed The Way The Doctor Referred To Star Trek 

In "Space Babies," Ruby is astonished at how the TARDIS is able to phase into a ship after traveling through space and then asked if it worked like a "matter transporter on Star Trek ." The Doctor laughed at the question and replied, "We gotta visit them one day." It was a quick moment but, for those eagerly awaiting upcoming Trek shows , I'm sure it sent minds racing as to what could be in the works. 

As Russell T. Davies noted to Inverse , the moment is more significant than some may realize. While Ruby Sunday's comment would imply that the series exists as a fictional television show in her modern day, The Doctor implies Starfleet and The Federation are real: 

The Doctor actually now talks about Star Trek as real. Maybe when the Fourteenth Doctor cast that salt at the edge of the universe, maybe some things became real that were never real before.

Just when it seemed like Doctor Who was destined to crossover with Bluey , Russell T. Davies threw me for a loop with this line. Could a crossover between these shows actually happen? If so, I have my comm badge and Sonic Screwdriver both waiting beside me for the moment it's announced. 

Doctor Who And Star Trek Have Crossed Paths Before

Longtime viewers have seen various references to Star Trek in Doctor Who over the decades, and vice versa. Fans of both may also be aware that The Next Generation went on an adventure with Matt Smith 's Doctor in the comics, which is a really fun read. It's also been long speculated that Russell T. Davies wanted to have Christopher Eccleston's Doctor do a crossover on Enterprise , but the latter was canceled (with an ending the co-creator regrets ) before any progress was ever made. 

Russell T. Davies did speak to the reality of that Enterprise crossover in the interview and stated that it was never anything more than an idea he said aloud to himself in his office. It's sad to learn that actual negotiations never took place, but it's still great to hear Davies is interested in making it happen. 

CINEMABLEND NEWSLETTER

Your Daily Blend of Entertainment News

Will A Television Crossover Between Doctor Who And Star Trek Ever Happen? 

Unfortunately, I think we're in a time at which studios hoarding their intellectual property more than ever before. Gone are the days of Bugs Bunny and Mickey Mouse meeting up in Who Framed Roger Rabbit and, with Star Trek under the Paramount brand and Doctor Who now a co-production of The BBC and Disney, the odds of all parties coming to the table and agreeing to a crossover feel slim. 

Stranger things have happened, though and, with the kookiness that Strange New Worlds gets up to, I don't think it would be a stretch to see The Doctor on their Enterprise . If the legal teams could iron out the rights and such, the process of actually constructing the story would likely be even easier in comparison. I'll keep my fingers crossed, especially given how much of a blast this new era of Doctor Who is . It would be awesome to see two of the oldest TV sci-fi franchises united for one grand adventure. 

Star Trek: Discovery currently streams new episodes on Thursdays for Paramount+ subscribers , and Doctor Who debuts its Season 14 episodes on Disney+ on Fridays. With both shows in season at the moment, it's truly a great time to be a geek. 

Mick Joest is a Content Producer for CinemaBlend with his hand in an eclectic mix of television goodness. Star Trek is his main jam, but he also regularly reports on happenings in the world of Star Trek, WWE, Doctor Who, 90 Day Fiancé, Quantum Leap, and Big Brother. He graduated from the University of Southern Indiana with a degree in Journalism and a minor in Radio and Television. He's great at hosting panels and appearing on podcasts if given the chance as well.

The 12 Best Horror TV Shows To Stream On Netflix

The 12 Best Musicals And Music Movies Streaming On Netflix

90 Day Fiancé: Happily Ever After Finally Brought Back Angela Deem And Michael, And It Made Me Sadder Than I Expected

Most Popular

• 2 The 12 Best Musicals And Music Movies Streaming On Netflix
• 3 Liv Morgan's Story About Fellow WWE Superstar Farting On Her In The Ring Gives New Meaning To Putting Someone On Blast
• 4 Doctor Who’s Steven Moffat Gives His View On Where The Time Lord’s Regeneration Status Stands Following Timeless Child Reveal
• 5 ‘That Was The Beginning Of Everything For Me’: Kate Hudson On Getting Her Big Break In Almost Famous And How Her Career Is Now Coming Full Circle

• Search Please fill out this field.
• Newsletters
• Sweepstakes

The best Star Wars music, ranked

From the sweeping sounds of the original trilogy to new tracks from Andor and The Mandalorian.  

Devan Coggan (rhymes with seven slogan) is a senior writer at Entertainment Weekly. Most of her personality is just John Mulaney quotes and Lord of the Rings references.

What is Star Wars without its soundtrack? Music has always been essential to a galaxy far, far away, ever since those first John Williams notes blared over the opening crawl in 1977. No other musical score has permeated pop culture quite the way that Star Wars has, and the entire franchise is packed with memorable melodies, stretching across film and television. (Seriously. Try to find a person on this planet who can't hum along to "The Imperial March.")

Williams, of course, is synonymous with Star Wars , and the legendary composer has scored nine Skywalker movies across four decades. (He also returned in 2022 to compose the theme for Obi-Wan Kenobi on Disney+). But as the galaxy has continued to expand, so too has its music: In recent years, top-notch composers like Michael Giacchino , Nicholas Britell , and Ludwig Göransson have all put their own stamp on Star Wars . The result is a diverse musical soundtrack that bounces from genre to genre. Where else can you hear a gorgeous romantic melody, followed by a toe-tapping cantina jam?

We at EW love a good Star Wars ranking , so we took it upon ourselves to categorize and rank the best of the galaxy's soundtrack. Read on for EW's ranking of the best Star Wars music of all time. (And for an in-depth breakdown including debate and discussion of our list, listen to the latest episode of our Star Wars podcast, Dagobah Dispatch .)

15. Victory Celebration, Return of the Jedi

As a general rule, the Star Wars special editions are filled with unnecessary changes, awkward retcons, and mediocre graphics. (The less said about CGI Jabba the Hutt, the better.) Still, there's one change that the special editions did get right: replacing the inane " Ewok Celebration ," a.k.a. "Yub Nub," with the much more appropriate "Victory Celebration." The original song has its defenders — my Dagobah Dispatch cohost Dalton Ross is one of them — but "Yub Nub" fans are blinded by nostalgia. The original track is downright unlistenable, an awkwardly cheery misfire that undercuts the film's emotional weight. "Victory Celebration" is a far better fit, capturing the joy and melancholy of the Rebellion's triumph over the Empire. It's the perfect coda for the original trilogy. I'll take that over chanting Ewoks any day.

14. Obi-Wan Kenobi Theme

After scoring all nine Skywalker movies, John Williams announced his unofficial Star Wars retirement, closing out his legendary run with 2019's Rise of Skywalker . But in 2022, he made a surprise return to the galaxy, coming back to compose the theme for Obi-Wan Kenobi on Disney+. As the 90-year-old Williams explained at Star Wars Celebration that year, he realized that he'd written a theme for every major character except one, and he couldn't officially say goodbye without writing one last piece for the exiled Jedi master. The Obi-Wan theme isn't as instantly iconic as some of Williams' other pieces, but it nods to some of his best melodies, particularly the more mystical Force-y ones. The result is a fitting tribute to one of Star Wars' most beloved heroes.

13. The Book of Boba Fett Theme

The Book of Boba Fett may have underwhelmed as a show, but most Star Wars fans can agree: That theme song slaps. Mandalorian maestro Ludwig Göransson returns with a banger of a melody, propelled by deep, booming drums and chanting. It's the kind of song that makes you want to start a crime syndicate and maybe take over a small desert town.

12. Andor Theme

For the Disney+ spy series Andor , creator Tony Gilroy recruited composer Nicholas Britell, a.k.a. the man responsible for that now-iconic Succession theme . Britell crafted a synthy score that feels part Star Wars, part sketchy spy thriller. The theme song is a particular standout: Every episode has the same melody, but each version is slightly different. Episode 4, for example, has a pulsing drum beat and swelling strings, while Episode 9 goes full '80s synth.

11. Niamos! (Morlana Club Mix), Andor

With this first-season Andor highlight, Britell gives the Star Wars galaxy its first danceable club track. (Of course, that's if you don't count the disco remix of the original theme song , which never plays on screen but did once top the Billboard chart.) This grimy bop is named for the luxe tropical planet where Cassian Andor hides out, and it can be heard throughout the series. The best version is this one, which plays in the very first episode as Cassian searches for his sister.

10. Across the Stars, Attack of the Clones

The awkward love affair between Padmé and Anakin probably won't make you swoon — but Williams' score might. With "Across the Stars," the composer crafted a love song for the ages, a lavish orchestral theme that gives gravitas to an otherwise forgettable romance. (It might be the best thing in all of Attack of the Clones .) Even a clumsy monologue about sand sounds romantic when Williams scores it.

9. The Mandalorian Theme

Composer Ludwig Göransson won an Emmy for his contributions to The Mandalorian — and for good reason. Even if you're bingeing back-to-back episodes, this theme song is unskippable, a Western-inspired earworm that perfectly captures the show's gunslinger vibes. With its rhythmic drums and blaring horns, it's Ennio Morricone by way of Tatooine. And it's easily the best piece of non-Williams Star Wars music.

8. Yoda's Theme, The Empire Strikes Back

Look, Yoda shouldn't work. He's a slimy green puppet living in a swamp, who speaks in riddles and has questionable grammar. But from the moment this tiny Jedi master appears on screen, he feels fully real, bolstered by Williams' emotional theme. How can you not believe in the Force, when Yoda is lifting an X-wing with a swelling orchestra behind him?

7. Rey's Theme, The Force Awakens

Most of the sequel trilogy relies on familiar motifs, lifting musical cues from A New Hope or Empire Strikes Back. But Williams crafted an entirely new melody for Rey, and Daisy Ridley's desert scavenger gets one of the best musical pieces in any of the three sequels. It's a lonely composition, perfect for a lonely Jakku orphan, and there are hints of Force mysticism sprinkled throughout.

6. Princess Leia's Theme, A New Hope

The princess of Alderaan deserves an appropriately regal number — and this theme feels like Leia personified, fully capturing her warmth and courage. It's one of the slower pieces in A New Hope, but it's filled with heart, anchored by a solo horn and soaring strings. It's also surprisingly complex — perfect for a princess/diplomat/Rebel leader.

5. Cantina Band, A New Hope

Mos Eisley may be a wretched hive of scum and villainy, but those Tatooinians sure know how to boogie. From the moment Luke and Obi-Wan step into the spaceport cantina, they're greeted by the jazzy sounds of Figrin D'an and the Modal Nodes. Alien jazz has never sounded so inviting, and it's a perfect contrast to the rest of the film's orchestral score. And man, those Modal Nodes are seasoned professionals: Even when Obi-Wan slices off a dude's arm, they go right back to their performance.

4. Binary Sunset/Force Theme, A New Hope

Every hero needs a theme — and Luke Skywalker gets one of the all-time best. This wistful melody is pure magic, and it pops up throughout the franchise (usually whenever someone uses the Force). But it's never more moving than when it first shows up in A New Hope, as Luke stares out at the horizon, watching the twin suns of Tatooine set. It almost feels more fantasy than sci-fi, and it's the perfect accompaniment for a hero's journey.

3. Duel of the Fates, The Phantom Menace

When Williams returned for the prequel trilogy, he could've coasted on old themes and throwbacks to familiar melodies. Instead, he delivered this Phantom Menace banger, one of the most epic pieces in film score history. "Duel of the Fates" gives a balletic, almost religious quality to Obi-Wan and Qui-Gon's climactic lightsaber battle against Darth Maul, using a full orchestra and choir for maximum drama. It proved so popular that in 1999, the song spent 11 days on MTV's TRL countdown. And rightfully so.

2. The Imperial March, The Empire Strikes Back

"The Imperial March" isn't just an iconic piece of movie music; it might be one of the most well-known melodies in all of pop culture. With its staccato rhythm and menacing horns, this fascist marching song feels like the Dark Side personified, the aural equivalent of Darth Vader strutting around the Death Star. It's the ultimate bad guy anthem, and 40 years later, there's a reason "The Imperial March" still strikes fear — and awe — into fans' hearts.

1. Main Title, A New Hope

What else could be No. 1? Williams' main theme is Star Wars personified, opening and closing each of the nine Skywalker films. Those blaring horns set the tone for the story to come, and the entire track is a masterpiece, part military fanfare and part swelling adventure theme. It's been discofied, parodied, and even covered by Bill Murray . It's the perfect movie song: warm, hopeful, and instantly memorable.

For more Star Wars news, check out EW's Dagobah Dispatch podcast — featuring exclusive interviews with Pedro Pascal, Rosario Dawson, Kathleen Kennedy, and more.

Related content:

• 15 essential John Williams scores, ranked
• John Williams premieres new Indiana Jones 5 theme music for Phoebe Waller-Bridge character
• Harvard a cappella group performs John Williams tribute for composer

Related Articles