History Main / RearrangeTheSong

* The final season of ''Series/BlakesSeven'' used a faster and jollier muzak-like version of the theme for its end credits only, without changing the opening credit version. This created a rather odd effect after some of the grimmer episodes of the show, especially [[KillEmAll the last one]].

* ''Series/TheCosbyShow'' rearranged its theme music every season[[note]]Except in season seven, where the season six version was still used[[/note]]. It was a pretty standard mid-80's sitcom theme in its first season. But in later seasons it was rearranged as a peppy dance tune (season two), salsa song (season three), a cappella performed by Bobby [=McFerrin=] (season four), a ballet (season five), a Motown-styled dance tune (seasons six and seven) and in the final season, a hip hop song crossed with a {{homage}} to the old song "Shotgun."

* ''Series/{{CSINY}}'' also rearranged their version of "[[Music/TheWho Baba O'Riley]]" in Season 4.

* And when Christian's best buddy Wrestling/{{Edge}} adopted Alter Bridge's ''"Metalingus"'', it was ''literally'' rearranged. The rapid-fire heavier drum/guitar riff that ends the song on the album forms ''the beginning'' of Edge's entrance music before jumping back to the iconic ''"On this day...!"'' refrain, which first occurs about 55 seconds into the actual song.

** A 90s jazz arrangement was given to the main theme for the 1994 syndicated version of ''TPIR''. Some thought it would carry over to the daytime version, but it didn't.

* ''Film/LaraCroftTombRaiderTheCradleOfLife'' features Alan Silvestri's arrangement of Nathan [=McCree's=] classic theme from the first ''VideoGame/TombRaider'' game.

* The Italian edition of ''Manga/UruseiYatsura'' (Lamu') replaces the original slow opening song with a fast, catchy pop song. It's most notable because no one knows who wrote it, who performs it, nor is there apparently a complete version anywhere - it's frustrating, because it's such a catchy piece and so very appropriate for the series, too.

** "Opportunities (Let's Make Lots of Money)" was likewise remixed by Stephen Hague, who also produced the re-recording of "West End Girls", for ''Please''; this is the version that was a worldwide hit.

** Many of J.S. Bach's sacred cantatas include movements based on Lutheran hymns, or chorales, of the time. The most famous is ''Ein feste Burg ist unser Gott'' (BWV 80), which utilizes the melody of Martin Luther's hymn of the same name in almost all of the movements. Bach also appropriated the chorale melodies for his chorale preludes.

* ''Franchise/LawAndOrder'' has a unique InstrumentalThemeTune, OpeningNarration, and TitleSequence that is replicated in each of its six American spinoffs, slightly modified to fit the tone of each new show. How much the theme song is rearranged depends on largely on when the show came out. ''Series/LawAndOrderSpecialVictimsUnit,'' being the first, has a theme and title sequence most like the original, while the latest addition, ''Series/LawAndOrderOrganizedCrime'' has the most variation, taking the theme UpToEleven by using an ''orchestral'' arrangement and using a highly stylized version of the TitleSequence that forgoes many of the usual hallmarks, including being entirely in color. The only spinoff to [[ThemeMusicAbandonment abandon the theme]] completely is ''Series/LawAndOrderUK,'' for reasons unknown, as it still uses the OpeningNarration and SignatureSoundEffect of "chung-chung" in scene changes.

* ''Franchise/LawAndOrder'' has a unique InstrumentalThemeTune, OpeningNarration, and TitleSequence that is replicated in each of its six American spinoffs, slightly modified to fit the tone of each new show. How much the theme song is rearranged depends on largely on when the show came out. ''Series/LawAndOrderSpecialVictimsUnit,'' being the first, has a theme and title sequence most like the original, while the latest addition, ''Series/LawAndOrderOrganizedCrime'' has the most variation, taking the theme UpToEleven by using an ''orchestral'' arrangement and using a highly stylized version of the TitleSquence that forgoes many of the usual hallmarks of the franchise. The only spinoff to [[ThemeMusicAbandonment abandon the theme]] completely is ''Series/LawAndOrderUK,'' for reasons unknown, as it still uses the OpeningNarration and SignatureSoundEffect of "chung-chung" in scene changes.

* ''Franchise/LawAndOrder'' has a unique InstrumentalThemeTune, OpeningNarration, and TitleSequence that is replicated in each of its six American spinoffs, slightly modified to fit the tone of each new show. How much the theme song is rearranged depends on largely on when the show came out. ''Series/LawAndOrderSpecialVictimsUnit,'' being the first, has a theme and title sequence most like the original, while the latest addition, ''Series/LawAndOrderOrganizedCrime'' has the most variation, taking the theme UpToEleven by using an ''orchestral'' arrangement and using a highly stylized version of the TitleSquence that forgoes many of the usual hallmarks of the franchise. The only spinoff to AbandonTheTheme completely is ''Series/LawAndOrderUK,'' for reasons unknown, as it still uses the OpeningNarration and SignatureSound of "chung-chung" in scene changes.

* ''Series/DoctorWho'' has rearranged its theme several times: three times in the '80s to "modernize" it (with the first '80s version being the only one besides the original Delia Derbyshire version to be made in the BBC Radiophonic Workshop), again in the TV movie, then four times with the new series.

** The original Radiophonic Workshop version of the ''Series/DoctorWho'' theme underwent a few rearrangements in the 60s and 70s. Arranger Delia Derbyshire added "electronic spangles" and an echo effect for the Patrick Troughton incarnation, and then in the '70s, she added the [[Film/TheSting electronic "scream"]] preceding the closing titles and introduced the sound effect at the end to the televised theme for the first time (it was in the full version of the original 1963 theme).

* ''Film/MightyMorphinPowerRangersTheMovie'' contains an [[UpToEleven even more epic-sounding]] arrangement of the TV Show's theme. Doubles as LongSongShortScene, since roughly 40 seconds (If we're being generous) of the song is actually used in the film.

* Music/{{Underworld}}'s biggest song, "Born Slippy .NUXX" is actually an InNameOnly remix of their song "Born Slippy". ".NUXX" became so popular that it overshadowed the original after its use in the film ''Literature/{{Trainspotting}}''. Underworld revisited ".NUXX" in 2003 for a greatest hits album, downplaying the relentless percussion-only accompaniment with a piano part.

* Music/Coil took their 1991 signature song "Teenage Lightning" and released a new version in 2004. Both editions are notable for fully displaying the sound and technological aesthetics of the band during their respective periods.

* Music/Underworld's biggest song, "Born Slippy .NUXX" is actually an InNameOnly remix of their song "Born Slippy". ".NUXX" became so popular that it overshadowed the original after its use in the film ''Literature/{{Trainspotting}}''. Underworld revisited ".NUXX" in 2003 for a greatest hits album, downplaying the relentless percussion-only accompaniment with a piano part.

* Coil took their 1991 signature song "Teenage Lightning" and released a new version in 2004. Both editions are notable for fully displaying the sound and technological aesthetics of the band during their respective periods.

* Underworld's biggest song, "Born Slippy .NUXX" is actually an InNameOnly remix of their song "Born Slippy". ".NUXX" became so popular that it overshadowed the original after its use in the film ''Literature/{{Trainspotting}}''. Underworld revisited ".NUXX" in 2003 for a greatest hits album, downplaying the relentless percussion-only accompaniment with a piano part.

* [[Music/{{Orbital}} Paul Hartnoll]]'s "Please", a collaboration with [[Music/TheCure Robert Smith]] originally released on the former's 2007 album ''The Ideal Condition'', was re-recorded in 2015 under Hartnoll's new alias 8:58.

* Robert Smith and Quartet Voluté recorded a string quartet version of Music/TheCure's "Pictures Of You" for the soundtrack to the documentary ''Dead Good''.

* A rare unreleased edition of the Music/BackstreetBoys' "I Want It That Way", subtitled "No Goodbyes", had revised lyrics:

** Guitarist Paul Leary's solo album ''Born Stupid'' included rearrangements of songs he'd written with Butthole Surfers: "Gary Floyd Revisited" turns the garage punk "Gary Floyd" into a gentle psych-folk ballad, and "The Shah Revisited" turns the HardcorePunk of "The Shah Sleeps In Lee Harvey's Grave" into [[LyricalDissonance very lyrically dissonant]] gospel music.

* When Music/ViolentFemmes had to re-record "Blister In The Sun" for the ''Film/GrossePointeBlank'' soundtrack (having temporarily lost the original master track), they submitted one version that was as close to the original in arrangement as possible, and one that slowed down the tempo and arranged the song for saxophone, xylophone, violin, bass, and drums. Both ended up on the soundtrack, with the second version being dubbed "Blister 2000".