Buzz
By the 1960s, television in America had evolved significantly, with technological innovations in visual quality creating a new era of entertainment. What had once been grainy black-and-white broadcasts shot using kinescopes transitioned to vibrant color shows. The sheer volume of programming exploded. Sitcoms embraced fresh and inventive plots, while Westerns and fantasy shows shed their formulaic structures. Police procedurals and medical dramas began tackling deep social issues with authenticity.
The popularity of these shows led to a massive surge in viewership, and with it, advertising revenues soared. TV networks and production companies grew wealthy, empowering them to hire top-notch directors, writers, and actors. Music was no afterthought, either. Major production companies assembled teams of skilled songwriters and arrangers, sparking an extraordinary period of musical creativity in the crafting of TV theme songs. Some of these tunes became so iconic, they climbed the pop charts. To this day, the first few notes of these songs instantly bring back memories of childhood TV favorites for those who grew up in the era.
Take a trip down memory lane as we unveil the 10 best TV theme songs from the 1960s.
10. Mister Ed, 1961–1966
Mister Ed follows the humorous escapades of a sarcastic, trick-playing, talking palomino voiced by Allan Lane. His well-meaning but clumsy owner, Wilbur Post, portrayed by Alan Young, is the only one who can hear Mister Ed speak. Wilbur's wife often felt sidelined as her husband appeared to spend more time with the horse than with her. This lighthearted, modern fantasy was adapted from stories written by children’s author Walter R. Brooks, which were published in magazines during the 1930s and 1940s.
Before the theme song starts, the horse opens his stable door and introduces himself in a rich bass voice, saying, “Hello. I’m Mister Ed.” The iconic opening line follows: “A horse is a horse, of course, of course.” The melody of the song mirrors the rhythm of a horse trotting. Famous songwriting duo Ray Evans and Jay Livingstone crafted the song. Livingstone originally recorded a demo, singing in a laid-back pop style, thinking a professional singer would later be brought in to polish the performance. However, the producer loved his version so much that no re-recording was needed.
In 1986, a surprising claim emerged: a preacher alleged that if the song was played backward, it contained Satanic messages. This led to a group of teenagers burning copies of the song. However, further investigations found no evidence of any hidden messages. Fortunately, the accusations were completely unfounded.
9. I Dream of Jeannie, 1965–1970
In this enchanting fantasy, Barbara Eden stars as the stunning genie, while Larry Hagman portrays Captain Tony Nelson, an astronaut who is both astonished and befuddled. The title of the show is a reference to Stephen Foster’s iconic song, “Jeanie with the Light Brown Hair.” Richard Wess composed a simple waltz that served as the instrumental opening during the first season's initial episodes. This piece played during Friz Freleng’s animation of Jeannie’s bottle releasing the names of the cast members and Jeannie dancing. For episodes 2-8 of the season, Paul Frees humorously narrated, in a fairy-tale style, describing Tony Nelson as living “in a mythical town called Cocoa Beach in a mythical state called Florida.”
Producer Sidney Sheldon decided the show needed a new theme song. Hugo Montenegro and Buddy Kaye wrote the iconic samba for seasons two through five. The animation for the credits was reworked. We see Tony’s space capsule splash down near a beach where Jeannie’s bottle lay unopened for 2,000 years. When he opens the bottle, smoke pours out and turns into the dancing Jeannie.
8. Get Smart, 1965–1970
It was the mid-sixties, and James Bond and Inspector Clouseau were all the rage. Producer Dan Melnick decided it was high time he created a spoof of spy movies for television. Mel Brooks agreed to head up the project. He would later use his earnings to finance his first movie, The Producers. Buck Henry was hired to write Mel’s ideas down on paper, including the shoe phone and the Cone of Silence. After the pilot episode, Buck became the head writer, rewriting every script to get the characterizations and the tone just right. Don Adams signed on when he heard who wrote the scripts. He had been a combat Marine who fought in the South Pacific during World War II and later became a drill instructor. But he handled the humor superbly with his stiff intonations and the silly bits, including the famous running gag, “Would you believe…?”
The theme song, an instrumental constructed as a military march, features trumpets blaring the first four notes of each musical line with authority. Fans never forgot those notes. A drum would sound as each set of giant security doors slammed shut behind Maxwell Smart as he moved deeper into the bowels of Control headquarters. The opening credits rolled during this bit of spy silliness. The song was composed and directed by Irving Szathmary, the brother of the famous comic Bill Dana. The theme song fit the premise of a spy spoof perfectly. When Smart dropped out of sight in the phone booth at the end of the song, this action was supposed to indicate the presence of a secret elevator in operation. But Don Adams merely dropped to his knees quickly behind a darkened panel.
7. Bewitched, 1964–1972
Samantha, a witch played by Elizabeth Montgomery, marries Darrin, a mortal portrayed by Dick York and later by Dick Sargent. Darrin struggles with his unusual in-law troubles, especially with Samantha’s mother, Endora, played by Agnes Moorehead. Endora despises the fact that Samantha chose to marry a mortal and is determined to break up the marriage. Samantha’s father, Maurice, also makes occasional appearances, proudly discussing his love for the theater and his personal acquaintance with Shakespeare. Bewitched was considered a bit controversial for its time, as it was the first TV show in which a married couple shared a bed!
Originally, the show intended to use Frank Sinatra’s “Witchcraft” as its theme song, but due to royalty costs, the producers opted for “Bewitched” instead. The song was written by Howard Greenfield and Jack Keller, who originally included lyrics, but these were removed for the theme song. Warren Barker arranged the light orchestral version, filled with “lots of bells.” An animated sequence shows Samantha flying on a broomstick, writing the word “Bewitched” across a starry sky above the city. The bubbly tune features a xylophone, which accompanies Samantha’s famous nose twitch used to cast spells. This same sound effect was used in the show itself.
6. Gilligan’s Island, 1964–1967
In this hilarious show, clumsy Gilligan and his frustrated Skipper take five passengers on a three-hour tour from a tropical port, only to be caught in a storm. The classic theme song, “The Ballad of Gilligan’s Island,” explains how these seven castaways ended up on a deserted island. Written by Sherwood Schwartz and George Wyle, the song is styled like an old sea shanty. One interesting tidbit is about the song’s lyrics. Bob Denver, who played Gilligan, was unhappy with the way the characters were listed towards the end of the song. Initially, the lyrics listed: “Gilligan, the Skipper too, the millionaire and his wife, the movie star…” Denver requested that “and the rest” be replaced with “the professor and Mary Ann” in the second season, so that all characters received equal recognition.
5. The Jetsons 1962-1963
The first four notes of Hoyt Curtin’s unforgettable vocals in “Meet George Jetson” became so iconic that they were transformed into a doorbell chime. This cheerful, upbeat tune, aside from its opening, where strings play a “Gosh! Wow!” futuristic theme while the animation showcases the galaxy and then Earth, could easily be imagined as part of any 1960s sitcom. The song introduces the Jetson family, with George flying his car while dropping off his children and wife—literally—to their schools and a shopping center. A humorous musical touch appears near the end, with a few piano bars of “Chopsticks.” George arrives at Spacely Sprockets, folds his car into a briefcase, rides a conveyor belt, plops down into his chair, and kicks his legs up on the desk, where his boss, voiced by the legendary Mel Blanc, waits.
As we move swiftly into the 21st century, the Jetsons’ future seems to be drawing closer. According to devoted fans, George Jetson was born on July 31, 2022! The show’s setting was 100 years after the early 1960s, making George a middle-aged father just like in the series. Despite its cartoon nature, historian Matt Novak regards the show as the most influential portrayal of the future in 20th-century entertainment. Space colonization was depicted as an unquestionable reality during the show.
4. The Beverly Hillbillies, 1962–1971
The theme song, “The Ballad of Jed Clampett,” offers a delightful explanation of the show’s premise. How did a hillbilly end up in a Beverly Hills mansion? Well, Uncle Jed was “a shootin’ at some food when up from the ground came a bubbling crude.” He struck oil, and his kinfolk advised him, “Californy is the place ya oughtta be.” So, he and his family packed up and moved west, setting the stage for a clash of cultures.
This catchy song made the phrases “black gold” and “Texas tea” unforgettable. Written by Paul Henning in a country-western style, the song was performed by the amazing bluegrass duo Flatt & Scruggs. It topped the country charts in 1962.
3. Mission: Impossible, 1966–1973
This expertly crafted series became the ultimate Cold War-era drama. The Impossible Missions Force was tasked with concocting and executing elaborate plans to thwart both foreign and domestic enemies. The tension was often heightened by moments of silence, where no dialogue was spoken, and the team worked through intricate scenarios. Borrowing techniques from filmmakers, the show used unconventional camera angles to amplify the drama. Steven Hill played Dan Briggs, who led the team in the first season. Peter Graves, the brother of the more famous actor James Arness, replaced him as Jim Phelps for the remainder of the series.
Mission: Impossible might very well boast the most unforgettable TV theme song of all time. Composed by Lalo Schifrin, the melody was written in an unusual 5/4 time signature and performed by a full orchestra, complete with bongos. It opens with a rapid flute trill, accompanied by an animated fuse being lit. As the fuse burns down, the violins begin to play the iconic theme. The song and animation together promise viewers a thrilling adventure. When it was announced that Tom Cruise would star in the first Mission: Impossible movie, rumors swirled that producers didn’t plan to include the TV theme. But fan backlash forced them to rethink their decision, especially after learning that Cruise was a big fan of the tune.
2. Hawaii Five-0, 1968–1980
Regarded as the epitome of police procedurals by television critics, this show was also visually stunning thanks to its setting in Hawaii. Jack Lord played the no-nonsense Captain Steve McGarrett, who headed the Five-0 task force. The task force’s name was a direct reference to Hawaii’s position as the 50th state of the United States. The instrumental theme song, composed by Morton Stevens and performed by The Ventures, is considered one of the best rock instrumental pieces ever. The song skyrocketed to number 4 on the Billboard charts in 1968, and its fast tempo and surfing-inspired sound were the perfect accompaniment to the show's adventurous atmosphere in Hawaii.
As the song kicks off, we witness the majestic wave curling in. Soon after, the beautiful scenes of Hawaii unfold, accompanied by glimpses of the team members, including Chin Ho and Kono. Over time, various artists such as Sammy Davis Jr., Don Ho, and even Bill Murray performed vocal versions of this iconic theme. When the case was solved, Captain Steve McGarrett would command, 'Book ’em, Danno,' referring to Detective Sergeant Danny Williams, played by James MacArthur. This catchphrase became a cultural phenomenon, leading to countless parodies and inspiring other police dramas.
1. The Addams Family, 1964–1966
This show was a hilarious and eerie look at the oddest family to ever grace television screens. It was like nothing anyone had ever seen before. Kids were fascinated by the quirky antics of the Addams clan, which included Frankenstein’s monster, a witch, Uncle Fester, Morticia, two strange children, Cousin It (a hairball), a pet lion named Kitty Cat, and Thing, a disembodied hand. John Astin played Gomez Addams, the almost normal head of the family. The humor stemmed from the family's perception of themselves as completely typical, despite their bizarre nature. Each episode explored the comical clash of their odd world with that of outsiders. The show was based on a series of cartoons by Charles Addams, originally published in The New Yorker, but ironically, Addams faced difficulty getting his cartoons published after the show’s success.
The theme song starts with a distinctive harpsichord playing four notes, followed by two sharp finger snaps. This unforgettable melody became so ingrained in popular culture that organists still play it at major league baseball games. The lyrics feature a catchy rhyming pattern: 'They’re creepy, and they’re kooky, mysterious and spooky, they’re altogether ooky, the Addams Family.' The producers originally wanted Lurch, the butler, to remain silent, but actor Ted Cassidy insisted on giving his character a voice. Cassidy’s deep, gravelly growl became iconic, especially with his famous line, 'You raaaang.' His voice also contributed to the theme song with his brief yet memorable descriptions of other characters: 'Sweet. Neat. Petite.' The theme was composed and arranged by Vic Mizzy, securing his place in musical history.
