Not every song you write is meant to be a classic. There’s only so many times you can be asked to write the biggest hook of your career twice, and some of your best tricks have fans digging a little deeper to find them. If fans don’t do their homework, getting them on the big screen is a great substitute.
Even though all of these songs ended up doing quite well in their day, whether on the charts or as part of the album experience, their popularity skyrocketed once they were used in the movies. . However, these aren’t meant to be just a playlist of the best songs that have ever been in movies. No, they’re the kind of songs that went just under the radar for a lot of people, only to be catapulted into the limelight practically overnight, attracting new fans who had never heard of what they were.
In this case, the whole song seems to take on a second life. There are fans who were diehards who already know these songs inside out, but moviegoers will always associate them with a certain fight, breakup, or other emotional moment that happened in some of their favorite movies. The goal may have been to paint a picture with music, but you’d be surprised how many songs also lean into screenwriting.
David Bowie was never a man who was looking to find a sound and stick with it too long. From his early days through his pop years in the 80s, he had gone through everything from glam rock to soul to krautrock to finally making bangers like Let’s Dance. The 90s saw it get a little darker though, and before the electronic bug really took over, The Hearts Filthy Lesson gave us something dark.
Around the same time acts like Nine Inch Nails were lighting up the charts, Bowie did so for his big album Outside, which was billed as a concept album where people kill each other as a form of artistic expression. The whole premise might seem really messed up at first, but it’s kind of a philosophy that John Doe knew a little too well. Being one of the staples of Seven’s soundtrack, there aren’t too many pop-leaning songs that delve into this kind of morbid sound, with an industrial tinge as Bowie talks about matters of the heart reaching a tipping point.
Essentially used as a bookend for the film, the song really does its job of immersing you in the world of this town, where things are grimy and more than a little disturbed when you look further afield. It might just be a good song, but you walk out of the theater a changed person when you hear this song playing over the credits.