![[90s Western Films] Theme Songs & Insert Songs: Nostalgic Classics](https://i.ytimg.com/vi/O040xuq2FR0/hqdefault.jpg)
One of the defining features of Western films in the 1990s was that, alongside the explosive success of major studio blockbusters, so-called mini-theater/arthouse films were also gaining popularity.
Whether it was a Hollywood blockbuster or an indie film beloved from a subcultural perspective, great music was always part of the package.
In this article, we focus on the theme songs and insert songs used in ’90s Western films, offering a varied lineup that ranges from smash hits crafted by legendary musicians to beloved classics from indie-scene artists with enduring appeal.
It’s also a helpful guide to understanding ’90s culture, so younger film and music fans should definitely check it out!
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[Western Films of the ’90s] Theme Songs & Insert Songs: Nostalgic Classics (1–10)
SheElvis Costello
Speaking of Elvis Costello, he made his debut right in the middle of the U.K.’s punk boom in 1977, releasing many classic albums with a New Wave sensibility powered by his outstanding songwriting—he’s practically an idol to fans of British rock.
That said, for those who discovered him through the hit song “She” featured here, he might be more strongly associated with a mature, adult-oriented sound.
The song served as both the theme and an insert track for the 1999 British romantic comedy film Notting Hill, and when you hear Costello’s heartfelt vocals adorned with elegant strings, many of you probably picture Julia Roberts and Hugh Grant in the film.
“She” is not a Costello original; it’s a cover of “Tous les visages de l’amour,” sung in 1974 by Charles Aznavour, France’s celebrated singer-songwriter and acclaimed actor.
Also known in Japan by the title “Wasurezhi no Omokage,” Aznavour’s original version is used as the opening song for Notting Hill in some countries.
Shape of My HeartSting
Leon, a film starring the unusual duo of Jean Reno as the solitary professional hitman Léon and then-12-year-old Natalie Portman as Mathilda, a girl with an unhappy upbringing, was Luc Besson’s first Hollywood directorial effort and became a major hit and a classic.
I feel that its story setup and the characterization of the two leads have greatly influenced Japanese creators as well.
Speaking of this masterpiece’s theme song, it’s Shape of My Heart by Sting—frontman of The Police and one of the UK’s leading singer-songwriters who has continued to score worldwide hits as a solo artist.
First released on the 1993 album Ten Summoner’s Tales and also issued as a single that same year, the song became a hit here in Japan and is a beloved ballad.
While it didn’t chart especially high in the UK at the time, its use in the film helped it later come to be highly regarded as a classic among Sting’s works.
Its wistful melody and lyrics with Sting’s characteristic sophistication pair exquisitely with Léon’s less-than-happy ending.
As an aside, the distinctive clean-tone guitar riff was sampled in Juice WRLD’s Lucid Dreams.
I Will Always Love YouWhitney Houston
When you think of a movie theme song that became a record-breaking hit in the ’90s, the first that likely comes to mind is Whitney Houston’s timeless classic “I Will Always Love You.” It served as the theme song for the 1992 film The Bodyguard, in which Whitney made her film debut alongside Kevin Costner.
Arranged by David Foster, the soundtrack—which includes the theme and insert songs performed by Whitney—sold 45 million copies worldwide and is known as the best-selling soundtrack of all time.
It’s no exaggeration to call it the pinnacle of ballads; Whitney’s astonishing vocal power turned this magnificent song into something eternal, resonating deeply with listeners in any era.
Interestingly, “I Will Always Love You” is not originally Whitney’s song.
It was written and composed in 1974 by Dolly Parton, a celebrated American singer-songwriter who has also excelled as an actress and author.
Be sure to check out the original, gently country-flavored version, “I Will Always Love You,” as well!
I Don’t Want to Miss a ThingAerosmith
The theme songs of Western films in the 1990s seem to have produced many grand, memorable ballads, starting with Whitney Houston’s “I Will Always Love You,” and Aerosmith’s “I Don’t Want to Miss a Thing” by the world-famous rock band can certainly be counted among the most representative.
The song served as the theme for the blockbuster film “Armageddon,” starring Bruce Willis, whose retirement from acting was sadly announced in March 2022.
Despite Aerosmith’s already long career since their debut in the 1970s, this track unexpectedly became the band’s first ever No.
1 on the U.S.
charts.
It’s a straight-down-the-middle, classic rock ballad showcasing Steven Tyler’s passionate vocals to perfection; however, the song wasn’t written by the Tyler–Joe Perry songwriting duo.
Instead, it was penned—both lyrics and music—by Diane Warren, brought in as an outside writer.
You could say this gem of a masterpiece was born from the band’s flexible stance of deliberately accepting a song from an external hitmaker, even as veteran rockers.
Stay (I Missed You)Lisa Loeb
If you spent your youth in the 1990s and avidly listened to Western pop music of the time, you’re probably familiar with singer-songwriter Lisa Loeb, known for her trademark glasses.
Still active on the front lines today, her breakout hit was “Stay (I Missed You),” chosen as the theme song for Ben Stiller’s directorial debut Reality Bites, a film depicting the so-called Generation X.
Thanks to her friendship with Ethan Hawke, who appeared in the movie, her song was included on the soundtrack; remarkably, despite not being signed to a record label at the time, it became the first song in history to top the U.S.
charts under those circumstances.
Coupled with lyrics that frankly express her feelings about a romantic relationship from her private life at the time, the track is characterized by its light, folk-pop sound—melodic yet tinged with a certain wistfulness.
Lisa’s vocals, which display a range of expressions that seem to accompany shifting emotions, are also superb, and for many, the song evokes memories of the film.
Born SlippyUnderworld
One hallmark of foreign film culture in the ’90s was not only the boom in Hollywood blockbusters but also the surge of films shown in so-called “mini-theaters,” often referred to as single-screen art-house cinemas.
These works frequently featured tracks by alternative and indie artists and bands, gaining significant popularity.
Among them, the 1996 British film Trainspotting stands out as one of the quintessential titles.
Depicting the reckless lifestyles of Scottish youths with shocking imagery, it became a legendary classic, leaving its mark on mini-theater history by running for eight consecutive weeks at Cinemarise in Shibuya, a theater that once led the mini-theater scene.
It’s also known as the breakout role for a then-unknown Ewan McGregor, and its soundtrack—featuring both veteran and contemporary artists—received high acclaim.
Notably, Born Slippy by Underworld, a seminal techno unit, which plays in the film’s final scene, became their breakthrough hit and a landmark track in the history of techno.
Interestingly, the version widely known from the film is actually Born Slippy Nuxx, the B-side to Born Slippy released in 1995.
Today, that version is effectively labeled as Born Slippy.
It Must Have Been LoveRoxette
When it comes to the classic romantic comedy Pretty Woman starring Richard Gere and Julia Roberts, many people might immediately think of the theme song Oh, Pretty Woman by Roy Orbison, which almost everyone has heard at least once.
The song I’m introducing today is It Must Have Been Love by the Swedish duo Roxette, which was featured in the film and became a massive hit.
The original version was actually released in 1987 as a Christmas song, but it was re-recorded for the movie, with the lyrics revised to remove the Christmas references.
For the duo, who were already popular in their home country of Sweden, this track became the catalyst for gaining worldwide recognition.
It topped the U.S.
charts, and in Japan it was released as a “tanzaku” single CD under the Japanese title Ai no Nukumori.
It’s a classic distinguished by its pleasant, soaring high notes, a melody that flows, and—though it’s a ballad—a powerful rhythm and a simple, memorable guitar phrase.
If you know the scene in the movie where this song plays, you’ll likely find yourself moved every time you hear it, as it instantly brings that moment back to mind.