A song from a stage musical or film musical written for the show but unused or dropped from the production.
The melody to the song can sometimes be found in background music, especially dance music. Often these become "trunk" songs that composers later salvage for reuse in later productions.
Like the Image Song in anime, this can add depth to a character for those who know the song and its relation to the show.
In the past, the Cut Song tended to be left off the original cast album even if it had already been recorded, so as not to give the impression that it was still part of the show. Nowadays, the Cut Song is a common bonus track on both new and reissued cast recordings.
Since movie versions of stage musicals inevitably cut one or more songs from the original, cut songs from movie musicals should not be listed unless one or more of the following apply:
they were written specifically for the movie
they were filmed, but the footage was deleted (and, in all too many cases, subsequently lost)
they remain on the soundtrack in some vestigial form
The Italian version of Mermaid Melody Pichi Pichi Pitch, which used all-new songs (usually Suspiciously Similar Song versions), cut plenty of songs out of the series, replacing them usually with previously established counterparts to other songs, but sometimes with speeches or even by cutting out the parts where you can see the characters singing. It's especially bad in season two, when only one new song was allowed to be made out of the thirteen additions to the original score.
The dubbed version of Fullmetal Alchemist replaced the first and third intros with the second and fourth ones, respectively. At least the ones that aired on [adult swim] did; the original songs are present on the DVD releases.
According to Word of God, Funimation did this on purpose so the two musical groups could gain more Western attention.
Once the dub reached season 4, FUNimation had to replace One Piece's ending theme "Mirai Koukai" (ending 14) with "Eternal Pose" (ending 15). This was apparently due to licensing issues Tackey & Tsubasa. Even then, "Crazy Rainbow" from the same artist was present during Season 5.
The simulcast was unable to use the Punk Hazard-centric opening "Hands Up!", continuing to use "We Go!" until Dressrosa.
The soundtrack for Cowboy Bebop: Knocking On Heaven's Door (The Movie) has a song called "No Reply". It's a beautiful ballad that details how a man commits suicide by jumping to his death, and only in mid-fall, after it is too late to go back, does he realize that the woman he loved was the entire reason for his existence. Every other song on the soundtrack plays in the movie, including numerous unreleased songs, but not that one. It is a rather obvious case of Lyrical Dissonance, but that never stopped other songs on the soundtracks from playing at various points in the series where the lyrics or tone of the song didn't quite fit into the scene.
Ghost in the Shell: Stand Alone Complex has four opening songs: "Inner Universe", "Get9", "Rise", and "CHRisTmas in the SiLent ForeSt" and four individual animations to accompany each song. 4 openings for a 52 episode series, changing every 13 episodes— something not uncommon to see in anime. The US release of the series only uses "Inner Universe" for the first season, and "Rise" for the 2nd. While "CHRisTmas in the SiLent ForeSt" is played at the end of the final episode, "Get9" is nowhere to be heard. The special features on the DVDs didn't even include those openings to be viewed by the audience, so the only place you can see them is online. On top of that, the Japan-exclusive ''Smooth in the Shell" OST includes 49 minutes of music that may or may not be heard at some point in the series. The entire OST is one large song file. No breaks, and no names for each song segment. One of the songs heard is a full length rap song that is never heard anywhere in the series.
Two in Mulan, as revealed in the DVD: "Keep 'Em Guessing", originally intended to be Mushu's introduction song, and an opening number filled the Chinese equivalent of Ominous Latin Chanting. Also Mulan's "I Want" Song "Reflection" was originally much longer but had two verses cut out of it. Lea Salonga performs the full version at her concerts.
"The Jitterbug" from The Wizard of Oz may be the most famous example of a Cut Song from a film musical. The audio has survived, but the original footage has not, aside from a few short clips,a common fate for Cut Songs from old movie musicals. According to Margaret Hamilton, the song was cut to avoid dating the film via reference to the "jitterbug" fad. Many stage versions of the film, as well as an ice show tour in The Nineties, reinstated the number. It was also included in the 50th anniversary VHS extras.
There was also meant to be a Dark Reprise of "Over The Rainbow" sung when Dorothy is trapped in the witch's castle. It had to be recorded live on set and reduced the cast and crew to tears.
"Over The Rainbow" itself nearly became a cut song, since producers initially could not figure out why a child would be singing in a drab farmyard. They wisely chose to leave it in.
There was a deleted Reprise Medley of "Ding Dong The Witch Is Dead''("Hail Hail The Witch is Dead") and "The Merry Old Land of Oz" following the Wicked Witch of the West's death. Instead, the film cuts straight from the Witch's castle to the Wizard's throne room. Like The Jitterbug, the audio survived, but not the footage. "Hail Hail" and "Over the Rainbow (Reprise)" do appear in Andrew Lloyd Webber's 2011 stage adaptation, though.
There were others cut early on-"Lions and tigers and bears,oh my!" was to be a full song, and "If I Only Had The Nerve" and "If I Only Had A Brain" were longer. The longer footage of "Brain" does still exist and later became a bonus feature on various home video releases.
"Human Again" was cut from Disney's Beauty and the Beast before it reached the animation stage (as the filmmakers felt it was too long a sequence), but it was newly recorded and animated for insertion into the 10th anniversary theatrical re-release and subsequent special edition DVD. Prior to this, it was incorporated into the Screen-to-Stage Adaptation.
The Beast had at least one song in production that never even made it to the demo stage before it was cut. The stage version made up for this by giving him several songs.
Pocahontas had a love duet for the heroine and John Smith, "If I Never Knew You", cut when it bombed with kids in test screenings, though a pop version did appear over the end credits and it's a key motif in the underscore. It was later animated and restored to the film for its anniversary DVD.
For similar reasons, The Hunchback of Notre Dame did the same with an alternative to "God Help The Outcasts", "Someday". It later appeared in the German stage production.
There was also originally going to be a song called "As Long As There's a Moon", which involves Clopin marrying Phoebus to Esmeralda in what is supposed to be their wedding, but said wedding is immediately interrupted by the intervention of Frollo and his henchmen, who now has Esmeralda finally cornered.
Snow White and the Seven Dwarfs had many songs written for it that weren't used in favor of more effective ones. The ones that survived as recordings were "Music In Your Soup" (for the scene immediately following the "Washing Song", which had full pencil animation and voice tracks made before being dropped for time/budget reasons) and "You're Never Too Old To Be Young", which was later performed by Dick Van Dyke and a chorus for the film's 1987 TV tribute special (it was the 50th anniversary).
The Marx Brothers movie A Day at the Races is another instance: "A Message From The Man In The Moon," which was to have been sung in the film by Allan Jones, remained only in the instrumental party music and a couple of lines sung by Groucho Marx in the movie's Reprise Medley finale.
A song was cut from and replaced with a second round of "Can't Buy Me Love." Which song is uncertain, but general consensus is that the cut song is "I'll Cry Instead." That song is in at least one trailer, though. "You Can't Do That" was also cut from the final concert scene, but footage exists on the DVD and various making-of specials.
"I'll Cry Instead" was used as a prelude to the movie, illustrated with stills and behind-the-scenes photos, for its first theatrical re-release following John Lennon's death. This prelude was included in the original VHS release. Interestingly, the rare longer version of the song is used.
"I Call Your Name" was supposed to be in the movie and the 14th song on the album, but was cut for sounding too similar to "You Can't Do That" (consensus amongst fans would be that it doesn't). This is why the UK LP A Hard Days Night only has 13 tracks. It was included on the American album The Beatles' Second Album, and soon after in the UK on the Long Tall Sally EP. An interesting thing is, The Beatles scheduled another session to record a 14th track, but Ringo Starr was ill in hospital, so they didn't record it. This session did result in an amusing demo of "No Reply" (which features John and Paul bursting out laughing at some lyrical mistakes they make), a demo of "It's For You" recorded so Cilla Black could see how the song went, as well as the quickly forgotten song "You Know What To Do" (with session drummer Jimmie Nichol).
The film Hoodwinked fell victim to a form of this. No songs were cut completely, but were shortened due to Executive Meddling from the Weinstein Company, who thought that audiences would get impatient with the extra stuff in the songs, which ruined a lot of Back Story and some great lyrics. Specifically, the following was cut, and can be viewed as a Bonus Feature on the DVD:
A second verse from Red's "I Want" Song, "Great Big World", which would have fallen between the shot of Red's bike being carried across a river and her looking out over a valley.
A section of "Be Prepared," the song that is sung in Japeth's shack. The cutting goes like this (italicized part is cut):
Japeth:[singing] 37 years ago, a witch done put a spell on me...
Red Puckett: Yes, I know.
Japeth: ...a spell where when I'm talking, I'm singing it with glee / But when you're always singing it, you've got to live alone / That's why I made this mountain shack my home
Red Puckett: That's great, but could you just help me find my Granny's house?
Japeth:When you're on the mountain, you've got no guarantees, that life will turn up roses, or turn out as you please / but when you're on the mountain, there's lots to be a-feared / That's why this here old mountain goat's prepared
There's also a cut running of the chorus right before the shot of Red looking at the map
For the record, the cut is kind of rough, because it means that part of Red's line "That's great, but..." is cut off, such that for a split second, she's speaking but her mouth isn't moving due to lack of synchronization.
The second verse of Kirk's "Schnitzel song". This apparently would have happened right before the shots of Kirk returning to discover that his truck has been raided and cannibalized. Unfortunately, it means we don't know why the kids are all throwing their schnitzel sticks into the air like graduated college students, as it's revealed that they were watching a small tap-dance routine.
Also, ther was "Where Do I Go From Here?" Which made it onto some soundtracks as a bonus song.
"Is This What Feeling Gets?" was written and recorded for the movie version of The Wiz; it comes after Dorothy first "meets" the Wiz and learns she has to go after Evillene. It was cut (though a prequel, "Can I Go On Not Knowing?", shows up early on), but it's on the soundtrack album and is THE big motif in the instrumental score. Given that the finished movie is two-plus hours as it is, it may have been cut for time reasons.
In the movie version of Kiss Me Kate, "Another Op'nin', Another Show" and "Bianca" are not sung, but can be heard in instrumental versions. (Arguably, "Bianca" deserves to be cut, having originally been written to spite the original actor playing Bill, who obnoxiously demanded an Act Two showpiece.)
Esther Williams was supposed to sing "On A Slow Boat To China" in Neptune's Daughter. Apparently, the censors objected to the lyrics, so the movie introduced the song in an instrumental version only.
Thanks to a substantial Retool from its Kingdom of the Sun origins, almost every song was cut from The Emperor's New Groove, with the exception of "Perfect World." All the songs are still on the soundtrack, though — and "My Funny Friend and Me" still appears over the end credits. Sadly, Yzma's Villain Song, "Snuff Out the Light," was pretty frickin' sweet, but was cut early on when the direction changed from a serious drama to a comedy.
"Let's Go West Again" was removed from the movie version of Annie Get Your Gun; Judy Garland had already recorded it for the soundtrack when she was replaced by Betty Hutton, whose rendition of the song was also recorded but unused. The song had actually been written for the stage version of Annie Get Your Gun, but never had a spot in the script.
Little Shop of Horrors: The original darker ending had "Don't Feed the Plants" as hundreds of giant Audrey IIs destroyed notable cities which was from the musical's ending, but test audiences objected to it and a more upbeat wrapup was shot and used. The 2012 Director's Cut DVD completely restores the original ending. Meanwhile, the song "The Meek Shall Inherit" was heavily cut. Also written for the film was the Villain Song "Bad", the predecessor to "Mean Green Mother from Outer Space", and "Crystal, Ronette and Chiffon", which would have played over the end credits.
In the year and a half between the filming of Summer Holiday and its (unsuccessful) release, lots of footage was cut out of the film, and the cut footage was subsequently destroyed in a fire. The deletions included four songs: "Never Again," "Omar and the Princess," "Wish I Had a Braver Heart," and "Spring Isn't Everything."
The movie version of Mamma Mia! cut out "The Name of the Game" (shown as a deleted scene at the DVD), which was in the actual Broadway show. It also scrapped out of the original script three songs: "Under Attack", "One of Us" and "Knowing Me, Knowing You", the last one being replaced with "When All Is Said and Done".
In Casper, the ghostly trio was originally going to have a fun jazzy number called "Lucky Enough to be a Ghost," with very risqué lyrics ("I binge and I purge/I'm always obsessing/I'm an alcoholic, shopaholic inter-cross-dresser!"), but was cut when it was too expensive to animate. In the follow-up animated series, a similar, watered down song was used.
"Halloween" was cut from the movie of RENT, but appears on the DVD as a deleted scene. Many other songs were replaced by dialogue or eliminated entirely in the film of the show.
Coraline was originally intended to have significantly more musical numbers, and They Might Be Giants wrote several songs for the film. However, the film's tone was later changed to be more melancholy and all but one of the songs were taken out of the film (the remaining song being "Other Father's Song"). "Careful What You Pack", originally written for the movie, was worked onto their 2007 album, The Else. All the other songs will be released sooner or later.
The movie version of Lady in the Dark cut out nearly all of the musical numbers, including the one that has the most bearing on the whole plot and ties the whole thing together: "My Ship". Reportedly this was a due to the producer of the film hating Kurt Weill (the composer) and the song itself. All that remained of the original score in the end were "The Saga of Jenny" and "Girl of the Moment".
"Hey Bulldog" by The Beatles was originally written for the Yellow Submarine movie, but ended up being cut (at least from US prints - it was included in BBC screenings) and was only released on the soundtrack album, despite being insanely good. The song was added back for the 30th anniversary version of the film.
The Movie Bonus Song "Learn to Be Lonely" from The Phantom of the Opera (played over the end credits) originated as "No One Would Listen", a new song for the Phantom that would have appeared after the discussion between Raoul and Madame Giry; it had completely different lyrics. It was filmed but cut; the two-disc DVD release includes the scene as a bonus feature. Had the song remained, the melody's appearance in the film's underscore would have made a lot more sense.
The Glenn Miller band can be heard performing an instrumental version of "At Last" in Sun Valley Serenade. They reintroduced the song in Orchestra Wives, this time with the vocal intact.
Disney's Alice in Wonderland had quite a few cut songs, including 'Beyond the Laughing Sky' (which was later used as the basis for 'Second Star to the Right' in Peter Pan), 'Beware the Jabberwocky' (cut because it was thought to be too scary), and 'I'm Odd', sung by the Cheshire Cat, and later included as an extra in the DVD.
"Necessity" was removed from the film version of Finian's Rainbow almost certainly to shorten its running time, as the song was recorded for the soundtrack and its melody can be heard in the background music just after where it would have been sung.
"Ain't It the Truth" was supposed to have appeared twice in Cabin in the Sky. Both versions were cut, leaving Louis Armstrong without a musical number in the movie. The footage of Lena Horne singing it in a bathtub was preserved because it was recycled in a short film, and an instrumental version underscores the scene where Georgia seduces Joe, but only the audio survives of the production number featuring Armstrong's voice and trumpet. Horne got to revive her Bad Girl Song in the Broadway musical Jamaica.
"When Love Is Gone", from The Muppet Christmas Carol. Cut from the theatrical release for reasons of pacing, but added back into the VHS release (the DVD retains the theatrical cut, but the second DVD release includes the extended version, although not in widescreen).
The soundtrack has two songs that didn't make it into the movie at all (One song by Honeydew and Beaker, and one sung by Sam the Eagle), along with an additional verse to "Marley and Marley".
Similarly, Muppet Treasure Island ended up cutting one verse from the song "Something Better", which can be found on the soundtrack (The first verse, strangely enough).
Ali Hakim's song "It's a Scandal" and Jud Fry's song "Lonely Room" were cut from the movie version of Oklahoma!!. The former can be heard in the score, and the latter would have given the film a LOT more depth.
A sheet music anthology of Leslie Bricusse songs discussed two films he worked on that were written as musicals but weren't filmed as such due to Executive Meddling.
Santa Claus — The Movie (1985) had most of its songs dropped or reduced to background material because the producers didn't think a musical would sell in the mid-1980s; only "Patch Natch!" was performed onscreen, due to it being justified in-story as part of a TV ad. A fan site for the film has a page focusing on the songs and their fates.
Hook (1991) was de-musicalized due to concerns over budget and length. The only numbers sung onscreen at all are "We Don't Wanna Grow Up" (as part of a School Play) and "When You're Alone" (a lullaby Maggie sings to comfort herself in Neverland). One of the dropped songs, "Childhood", is a big motif in the underscore. Bricusse included the original version in the book, explaining that everyone was crushed to lose that song, but they couldn't figure out a way to perform it onscreen if the movie wasn't a musical.
"Is It A Crime?" was edited out of the movie version of Bells Are Ringing, though the film of the Deleted Scene survives. "Hello, Hello There" was reduced to background music and a few lines of dialogue which now mysteriously failed to result in a Crowd Song. "Mu-Cha-Cha" became more or less a Long Song, Short Scene.
"Strip Polka" was written for the movie Navy Blues, but the Hays Office wouldn't allow it to be used.
Many songs were written for Pinocchio but not used, including "Jiminy Cricket (Is My Name)," "Honest John," "Monstro The Whale," "Turn On The Music Box" and "Three Cheers For Anything." One of Jiminy Cricket's Cut Songs, "I'm A Happy-Go-Lucky Fellow," resurfaced in the short "Bongo" from Fun and Fancy Free, where it was sung by the cricket himself. The demo for "Honest John" is included in the 70th Anniversary Platinum Edition.
The Humuhumunukunukuapuaa song and scene were cut from the theatrical version of High School Musical 2, possibly because Disney would lose any plausible deniability about Ryan's sexuality after airing it. They reinstated it on the DVD and in the stage adaptation.
There was also a song recorded for the 3rd movie called "Last Chance" that never made it into the movie apart from the reprise in the medley of most of the songs in the movie. A 40 second preview leaked in 2008 before the movie came out.
Also "Warthog Rhapsody", which made it into a spinoff CD and the bonus features in said special edition DVD; it was replaced with the catchier "Hakuna Matata".
"Hakuna Matata" originally had verses for Timon's backstory as well.
Also "Morning Report", which made it into the Broadway musical, and a funny song Mufasa would have sang early on.
The movie version of Hair is an odd variant of this trope. Several songs —"I Believe in Love", "Going Down", "Abie Baby/Fourscore", "Frank Mills", and "What a Piece of Work is Man" — were recorded for the movie, but cut for pacing and runtime. They were included in the original soundtrack album, but cut from the 1990 re-issue. Instrumental versions of "Don't Put It Down" and "Somebody To Love" are used as background music for several scenes. The odd part is that three songs on the soundtrack — "Air", "My Conviction", and "Don't Put It Down" — were recorded by the cast exclusively for the soundtrack. Not because they were intended for the film, but because they were in the original play.
Bluto's song "I'm Mean" from Popeye is cut from every UK release for unknown reasons. It may have something to do with the UK distributor being Disney while the US distributor is Paramount.
A bunch of songs from the musical Grease got cut from the film, showing up only as background "music on the jukebox" during dialog scenes.
Well, sort of - that was the case with "It's Raining On Prom Night." (When Danny confronts Sandy at the Frosty Palace, this is the song she chooses on the jukebox.) "Rock 'n' Roll Party Queen" is heard on a radio before the start of the prom, and "Those Magic Changes" is performed by Johnny Casino and the Gamblers. Three additional songs, "Freddy My Love", "Mooning", and "Alone At A Drive-In Movie," appear solely on the soundtrack album.
There was at least six additional songs written for the film by Dr. Seuss that didn't make the final cut, and only survive on old production bootlegs. e.g. We Are The Guards: We are Two Terrible Twins With a Terrible Siamese Beard. / Don't get fresh with us now, Or you will get choked by the beard of the twins with the Siamese beard, with a terrible twin on each end.
The song "Arabian Nights" from Aladdin was actually going to be at least 4 verses long, with each verse being sung during different parts of the film, but in the final version, only the first verse was used. (two verses were still used later: one for the opening of The Return of Jafar - and subsequently s the opening theme for the TV series - and the one that would end the film on the ending of Aladdin and the Forty Thieves as Book Ends)
In addition to "Why Me", Jaffar's plotting and assumption of power had another song and sequence, "Humiliate the Boy", created for it and then rejected.
The song "When Does My Life Begin" from Tangled actually has two reprises. Only the second reprise made it into the film; the first reprise is actually soundtrack-exclusive.
The Disney version of The Little Mermaid had a song for Eric called "Her Voice" that was a companion piece to "Part of Your World." Bits and pieces of the song can still be heard throughout the score as Eric's theme, after a fashion. The stage musical ended up putting it back in. The opening song "Fathoms Below" was also originally a full length number, detailing the history of Atlantica - as well as revealing that Ursula was actually Triton's sister.
The film was originally going to end with Ariel singing a Triumphant Reprise of "Part of Your World" as Triton turns her back into a human - and would segue into the wedding scene. The film uses a choir rendition of the song instead.
Bedknobs and Broomsticks was shortened from its original 139-minute running length by cutting several of the Sherman Brothers' songs - "A Step in the Right Direction", "Nobody's Problems", "With a Flair" and part of "Portobello Road". All but "A Step in the Right Direction" were restored for the film's DVD release.
While present in all stage versions, Brad's ballad "Once In A While" was removed from The Rocky Horror Picture Show for pacing reasons. The scene has been included has a bonus feature on several home video releases, though never officially inserted back into the film. (Fans have done this themselves, even surprising theater audiences with the scene... and the audience reaction is almost always negative. It's a complete snore of a song.)
Additionally, American-made prints of The Rocky Horror Picture Show are missing most of "Super Heroes," as US distributors thought it made the ending too depressing. All that remains is the Crim's verse and one really bad jump-cut.
A notable soundtrack example: Christopher Nolan wanted Paranoid Android by Radiohead to close out Memento, but the licensing fee would have increased the (already quite low) budget by too much.
Beautyandthe Beast has the alternate version of "Be Our Guest", which is exactly like the final version of the song but has Lumiere and the enchanted furniture sing to Maurice instead of Belle.
The 1968 film Oliver! cuts quite a few songs from the musical, including That's Your Funeral and My Name.
The Aristocats has "She Never Felt Alone", where Duchess actually sings to her kittens and Thomas O'Malley about her owner Madame on their way back to Paris via milk truck, and that Madame will become extremely worried if she found out that her cats are gone. In the final version of the film, this scene is spoken instead of sung, and the scene where Madame learns about her cats' disappearance is now a scene following the one where her evil butler Edgar (who kidnapped the cats in the first place) accidentally leaves the cats behind in the French countryside after being attacked by a pair of dogs, but before Thomas O'Malley is introduced, where Madame is seen climbing out of her bed in the middle of the night (and accidentally revealing to the audience how beautiful she really is despite her old age) and discovering that her cats are gone after checking on their basket where said cats sleep, causing her to go crazy and run around the hallways of her mansion screaming.
Anthony Newley’s notorious autobiographical X-rated musical Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness had "Oh, What a Son of a Bitch I Am," which appears on the soundtrack album but was cut from the film.
Cut from We're Not Dressing was "It's the Animal in Me," a big production number featuring Ethel Merman, who was otherwise underused in the film. The cut song and footage wound up in The Big Broadcast of 1936, which otherwise did not feature Merman at all.
The in-story musical numbers in Labyrinth all run longer on the soundtrack album to varying extents, but none more so than "Chilly Down", which has both an opening verse and a bridge that don't appear in the finished film — not surprising since it's performed by a Wacky Wayside Tribe. (As originally written, the Fireys offered to help Sarah find the castle and thus would have had more screentime, so the trimming of their song may be a reflection of their reduced role).
Recess: School's Out was going to include a new original song by They Might Be Giants to play when T.J.'s riding his bike by himself after his friends leave for camp. To keep with the film's '60s music theme, the song was replaced with "One" by Three Dog Night.
"The Game" is not sung in the film version of Damn Yankees, though its tune recurs instrumentally. It would have been tricky to Bowdlerise the lyrics to be in line with The Hays Code, though pacing was another likely reason the song was cut.
"Last Night When We Were Young" was cut from not one but two MGM musicals: Metropolitan with Laurence Tibbett, and In the Good Old Summertime with Judy Garland. At least a recording of Garland's version survives.
"Lovely, Lonely Man" in Chitty Chitty Bang Bang is omitted in some TV airings and the stage adaptation since it stands out so much on its own compared with other songs. The Sherman Brothers were initially upset that the stage version omitted it, but they accepted the producers' decision.
There are at least seven songs that were written for Frozen that never made it into the final film. However, many of them were recorded by songwriters Robert and Kristen-Anderson Lopez as demos, and appear on disc 2 of the Deluxe Edition of the soundtrack:
"We Know Better" takes place shortly after Anna is born. The song is a duet in which young Anna and Elsa complain about all the things princesses are expected to do, claiming they know better. It even adds a bit to Elsa's character by showing that she is more than capable of harmless pranks like freezing her tutor's tea or her nanny's big behind.
"Love Can't Be Denied" was cut after Alan Menken left the project
"More Than Just The Spare" - A song in which Elsa is the heir and Anna is the spare. It was replaced in the film by "For the First Time in Forever."
"Life's Too Short" would have been in Anna's visit to Elsa's ice palace, and Anna trying to bring Elsa back to Arendelle, and the two sisters finally being friends now that Elsa's secret is revealed. Their opposite personalities keep them away from one another, though. After the writing and recording of "Let It Go", however, Elsa's character was rewritten so she was a protagonist instead of a villain. "Life's Too Short" now made no sense since it was from a villainous!!Elsa draft. Hence it got replaced with "For the First Time in Forever (Reprise)". Like the replacement, it ends with Elsa freezing Anna's heart accidentally.
This song would have had a reprise, sung while Elsa is locked up in the dungeon and Anna starts to succumb to hypothermia.
One of Elsa's lines in the song implies that in an earlier draft, Hans and Anna were originally supposed to marry at the end of "Love Is An Open Door", rather than just get engaged. Keeping that plot point would have resulted in the main character's husband attempting to murder her and her sister in the third act, which was most likely deemed too dark for Disney.
"You're You" - The original love duet between Anna and Hans. It was replaced with "Love is an Open Door," and in this one, Hans's reveal as the villain is hinted at several times.
"Reindeer(s) Remix": An extended, and hilarious, pop version of "Reindeers are Better Than People," the song that Kristoff sings to Sven while they're in the shed outside Oaken's store. Meant for the end credits, it was apparently written as a joke because the songwriters realized they didn't record "anything substantial at all for the amazing Jonathan Groff (Kristoff's voice artist)."
"Spring Pageant:" Possibly what would have taken the place of "Frozen Heart" would have been this song, which is done in the form of a rehearsal for a troll children's pageant run by a snooty and uptight director. It would have the performers reveal the prophecy, about Arendelle having a "ruler with a frozen heart" and the kingdom suffering an eternal winter, which will only be broken with a sword sacrifice. While that happens, all the stuff we normally see in a school play happens: someone's chewing gum on stage and the performers giggle during what are supposed to be serious lines. Reportedly, the "troll prophecy" was a plot element that persisted through several drafts of the script. The final version of the movie indicates that it would have been a Prophecy Twist: the "ruler with a frozen heart"' is Hans, not Elsa, and the "sword sacrifice" is Anna's self-sacrifice to save Elsa from Hans' sword. The prophecy and the song may have gotten cut because of how much contrivance was necessary to keep its meaning ambiguous. (This is even lampshaded when two of the trolls say, "What's a 'sword sacrifice'?" "Beats me.") It would also have made the trolls look like Jackass Genies to produce such an ambiguous prophecy to begin with.
The songs "When the Tigers Broke Free" and "What Shall We Do Now?" were both cut from the album of Pink Floyd's The Wall for lack of space. The former was released as a non-album single, whilst the intro to the latter was reworked into "Empty Spaces", and its lyrics were included in the sleeve notes (though not, unfortunately, in the CD rerelease) and was used in the live tour. Both songs were ultimately used in the film version.
And "Hey You" and "The Show Must Go On" were cut from the film version.
Roger Waters recorded, rewrote, and re-recorded The Wall several times, each with varying lyrics and track sequences. One track, "Sexual Revolution," disappeared entirely - and was held until his solo album, The Pros and Cons of Hitch-Hiking.
Five Iron Frenzy recorded three songs for Electric Boogaloo that got cut simply because the album was running too long. "Kamikaze" and "Dog Food" were released as-is on the b-sides collection Cheeses (of Nazareth); "Farewell to Arms" was revised, rerecorded, and included on The End is Here. Looking back, some members of the band thought that "Kamikaze" was the best song they ever wrote, and wondered what the heck they were thinking when they cut it.
Jason Martin of Starflyer 59 has said that "I Was 17" was his favorite song from the Americana recording sessions, but it couldn't be included because it was too stylistically different from the rest of the album. It was instead included on Easy Come, Easy Go.
In the production diary for Old, an instrumental song named "Jim" (featuring trumpet work by Richard Swift, oddly enough) was mentioned a few times, but nothing of the sort appears on the finished album. Jason has clarified that the song was indeed cut, and then the hard drive containing the song was damaged, so "Jim" is pretty much gone forever.
Sufjan Stevens' The Avalanche was basically an entire album's worth of songs that got cut from Sufjan's prior album Illinois.
The song "Rock Star" was supposed to be on the Hole album Live Through This, but was cut not long before the album's release because of the line "How'd you like to be Nirvana/So much fun to be Nirvana/A barrel of laughs to be Nirvana/Say you'd rather die, yeah like to try" (the album was released not long after Kurt Cobain's death). Funnily enough, the song was replaced with the song "Olympia", but the name on the album's cover wasn't changed.
Laserdance's rare track "Fall of the Wall"(referring to the Berlin Wall), judging by its sound, was apparently meant for the Discovery Trip album, but was relegated to a B-side on the Megamix Vol. 3 EP. Parts of it were also used for the intro and ending of Megamix Vol. 4.
P!nk's "Whataya Want From Me" was originally recorded for her Funhouse album, but when it didn't make the cut, she gave it to Adam Lambert. P!nk's version was later released on her Greatest Hits compilation.
Camper Van Beethoven's Key Lime Pie was originally going to have a "Closing Theme" to go with it's "Opening Theme" - the Lemony Narrator liner notes even apologize to David Lowery for not including it because it was decided it made the album run too long. "Closing Theme" eventually showed up on the rarity and outtake compilation Camper Van Beethoven Is Dead, Long Live Camper Van Beethoven, although it turned out that it had already been released as a b-side under the title "Guitar Hero".
On their album Rumours, Fleetwood Mac originally left off the song "Silver Springs" due to a lack of space on the vinyl. It's since appeared on re-issues of Rumours and on one of Stevie Nicks' compilation albums.
When XTC's B-Side "Dear God" became an unexpected hit, they added it to the US version of Skylarking and had to cut "Mermaid Smiled" to make room. They did include "Mermaid Smiled" on the b-side\rarity collection Rag N' Bone Buffet, and a later reissue of Skylarking restored the song to it's original place on the album and moved "Dear God" to the end as a bonus track.
The Bee Gees' classic LP Trafalgar was originally sequenced with two extra songs - "We Lost The Road" and "Country Woman," which made for two overly-long sides. The former was held for their next album ("To Whom It May Concern"), while the latter became a surprisingly good B-side.
The Beatles' The White Album in all its infamously overlong glory, lost enough songs to more or less comprise another whole LP's worth of material - "Not Guilty", "Junk", "What's The New Mary Jane", "Circles", "Child Of Nature" (a forerunner of Lennon's "Jealous Guy"), "Mean Mr. Mustard", "Polythene Pam", "Sour Milk Sea" (which many fans agree would've made for a killer single), "Step Inside Love", and others.
John and Yoko's avant-garde "What's The New Mary Jane" was evidently a last-minute omission - in interviews leading up to the album's release, John still described it as having 31 tracks, the extra being a three-minute edit of "Mary Jane."
Beatle producer George Martin suggested that three songs be dropped from Sgt. Pepper's Lonely Hearts Club Band - "Strawberry Fields Forever", "Penny Lane" (which became a standalone single, and Martin regrets removing them from the album to this day) and "Only A Northern Song" (which he found boring and wanted George Harrison to replace - he put "Within You, Without You" instead, and the original song eventually emerged in Yellow Submarine.)
George Harrison's mammoth three-LP All Things Must Pass lost enough material to warrant at least another disc-and-a-half. The missing tracks (all found in the bootleg boxed set 'The Art of Dying') included "Mother Divine", "Cosmic Empire", a brassy remake of "Get Back", "Beautiful Girl", "Window Window", "I Don't Want To Do It", "Down To The River" (later retitled "Rocking Chair In Hawaii" for George's posthumous 'Brainwashed' CD), and five minutes of guitarist Pete Drake singing songs through a talkbox, possibly intended for inclusion on the 'Apple Jam' disc.
Early promotional material for Go Simpsonic with The Simpsons, the show's second soundtrack album, listed the "Bad Boys" parody "Bad Cops".
Eminem's 2004 album Encore originally included a track titled 'Christopher Reeve' - who died before the album's release. Eminem not only removed the track, but destroyed all copies of the song so that there was no chance of a leak.
Another Eminem example includes 'Stimulate', which was cut from The Eminem Show. This song has since been released, but only if you live in Europe.
The Dixie Chicks' "Fly" includes a brief track titled "Ain't No Thang But A Chickin' Wang", which consists of silence. Apparently, on promo discs, this spot is taken by an actual song - the otherwise unreleased "Wherever You Are." This track was a duet with an artist named Deryl Dodd, who wanted to re-record his contribution for the final album, but fell ill before doing so.
From The Rise and Fall of Ziggy Stardust and the Spiders from Mars; note that all of these eventually were B-sides:
"Round and Round" (this Chuck Berry cover was replaced by "Starman" when RCA executives wanted a song that could be pushed as a single)
"Amsterdam" (one cover version replaces another — this Jacques Brel song was replaced by Ron Davies' "It Ain't Easy")
"Velvet Goldmine" (replaced by "Suffragette City")
"Holy Holy" (replaced by "Rock 'n' Roll Suicide")
"Dodo" was written for his aborted 1984 musical and appeared in his "1980 Floor Show" concert for The Midnight Special in 1973. But unlike other songs he wrote for that project, it didn't make the final track lineup of Diamond Dogs. It survives as a demo.
"Too Dizzy" did make it to Never Let Me Down but was cut from all reissues; Bowie historian Nicholas Pegg believes Bowie is embarrassed by its unintentionally creepy Stalker with a Crush lyrics.
"Bring Me the Disco King" was initially written and recorded for 1993's Black Tie White Noise, but left off; it eventually was rerecorded for 2003's Reality. This explains why the song is substantially jazzier than the album's other numbers.
The Foo Fighters have a few, mostly emerging as B-sides or bonus tracks in special editions. The weirdest case was "The Colour and the Shape", which is absent from the namesake album because Dave Grohl felt they didn't need another noisy track of that kind (but was eventually put in the 10th anniversary edition). Other songs include "Winnebago", "Podunk", "Butterflies" (which was played live but not issued officially), "Dear Lover", "Fraternity", "Walking a Line", "Normal", "The Sign", "Spill", "FFL", "If Ever", "Seda", "Bangin'" and "Better Off".
"You're Pitiful" was originally scheduled to be the lead single on Weird Al Yankovic'sStraight Outta Lynwood. Atlantic removed their permission at the last instant, so Al released it for free instead.
Guns N' Roses' "Ain't Going Down" was cut from the Use Your Illusion compilation album; it ended up being an exclusive on the Guns N' Roses pinball, and was even advertised as a "world-wide debut".
Several songs were left on the cutting room floor from the WWF Forceable Entry album, which likely would have found their way into the televised product:
Kane was going to be given this theme by Type O Negative, but instead was given "Slow Chemical" by Finger Eleven, which at least was a pretty good song in its own right. Type O's version was eventually published as a bonus track for their Life is Killing Me album.
Averted in the case of Seether's "Out Of My Way" — originally recorded to be Kurt Angle's theme on Forceable Entry, it was cut from the album, only to surface later as Zach Gowen's theme.
In the 1920s, the Gershwin song "The Man I Love" was cut from two different musicals in their pre-Broadway tryouts, and was ultimately written out of a third show which reached Broadway after a three-year production hiatus. This didn't stop the song from becoming a big hit.
The Jerome Kern-P. G. Wodehouse song "Bill" originated in the Princess Theatre musical Oh, Lady! Lady!!, but was dropped because it wasn't quite appropriate to Bill's character (though a snippet remained in the first act finale). Kern made several attempts to insert it into other Broadway-bound musicals, and finally succeeded in placing it in Show Boat.
Many songs were cut from Show Boat during the tryouts of the original production, and revivals tend to cut several more due to the show's length, though sometimes a few of them are reinstated. Here is an incomplete list:
The vocal for "Mis'ry's Comin' Aroun'" was deleted (except for the tragic coda, which the original Julie, Helen Morgan, included on her recording of "Can't Help Lovin' Dat Man"). The haunting tune remained in the miscegenation scene and was reused in the Medley Overture. The song has been restored in a number of later productions.
"Till Good Luck Comes My Way" (Ravenal's establishing song) originally began with a recitative that was cut from the original production. Later revivals cut the number and the scene in which it appeared, though it remains in underscoring.
"I Looked Down At Him" (sung by Magnolia in the Pantry Scene to lead into a reprise of "Make Believe") and parts of "The Creole Love Song" (an early precursor to "You Are Love") also remain as underscoring.
"I Might Fall Back On You" and the burthens (to use Jerome Kern's term) of "Queenie's Ballyhoo" (which is surprisingly plot-relevant) and "Dandies on Parade" became merely dance music in the 1946 revival.
"Hey, Feller!" was added to the show in 1927 just so the blackface actress who played Queenie could have a big number to sing in the second act. It's probably the least used number that remained in the original production, though the 1951 film version has some dance music based on it. Interestingly, Oscar Hammerstein II had tried out the "baskin'/caressin'/askin'/yessin'" rhyme in two earlier Cut Songs: "Let's Have a Love Affair," sung by the Beta Couple in the Sigmund Romberg operetta The Desert Song but replaced by a reprise of "It" soon after the show's Broadway opening; and, before that, "Come On and Pet Me" (whose Vincent Youmans tune was more profitably recycled as "Sometimes I'm Happy") from the instantly forgotten 1923 musical comedy Mary Jane McKane.
"I Hope You're Happy" was composed for Wicked, but was considerably pared down until it only survives as a few throwaway lines at the beginning of "Defying Gravity."
Wicked has a whole catalogue of songs that were tried out and subsequently cut during its various stages of development, including two versions of "Making Good" (early attempts at an "I Want" Song for Elphaba, eventually replaced by "The Wizard and I"); a song called "As If By Magic" (featuring Elphaba and Fiyero helping Dr. Dillamond with his research, before the whole Animals sub-plot was retooled); "Bad Situation" and "Far Be It For Me" (two early duets establishing the relationship between Glinda and Elphaba, which were eventually supplanted by "What Is This Feeling?"); and "The Emerald City Stomp" and "Which Way To The Party?" (two attempts at introducing the character of Fiyero, ultimately replaced by "Dancing Through Life"). Several of these songs were performed as part of a one-off benefit concert, Wicked: The Yellow Brick Road Not Taken.
"No Good Deed" originally had a Dark Reprise of the "Unlimited" motif ("Unlimited, the damage is unlimited...") that was dropped after the San Francisco try-out and replaced by the "Limited" lyrics at the beginning of "For Good".
"Come Down From the Tree" was cut from Once On This Island. Audra McDonald recorded it on one of her albums.
A bunch of songs that had been cut from earlier Stephen Sondheim musicals were fashioned into a new 2-person musical revue called Marry Me a Little. Interestingly, though "Marry Me A Little" was a Cut Song from the original production of Company, the Broadway revivals have reinserted it at the end of the first act.
"Marry Me A Little" was in fact one of four attempts to write a final song for Company. The earliest, "Multitudes Of Amys", was written when the 'plot' of the show was substantially different (Amy refuses to marry Paul at the end of Act I and ultimately ends up with Robert in Act II). "Happily Ever After" capped the show during Boston try-outs, but audiences response to the song was extremely negative and Hal Prince insisted that Sondheim write a more optimistic replacement. Said replacement became the canonical ending, "Being Alive".
Of the many songs cut from Follies, three ended up being used as instrumentals. "All Things Bright And Beautiful" became the dreamy waltz music which plays during the prologue; a fragment of "That Old Piano Roll" can be heard immediately after (and at the curtain call); pieces of "Can That Boy Fox-Trot" are used as incidental music. Sondheim reused several other FolliesCut Songs in the soundtrack to the movie Stavisky. The 1998 Paper Mill cast recording of Follies, billed as complete, does not include all the Cut Songs, nor does it include any of the songs written for the 1987 London production except "Ah, But Underneath."
In recent years, political correctness has forced the writers of The Fantasticks to replace the song "It Depends On What You Pay" with a song called "Abductions" because the former referred extensively to orchestrating a "rape", using the word in what was called a "literary" sense to mean a kidnapping or abduction. (The later instrumental piece "The Rape Ballet" was similarly renamed to "The Abduction Ballet", but was not actually cut.)
The comical song What's Wrong With Him? was cut and replaced with the much darkerSee I'm Smiling.
"From This Moment On" was cut from Out Of This World before the show reached Broadway; Cole Porter was not pleased. However, by the time the song was reused in the movie of Kiss Me Kate, it had already become a hit.
Judge Turpin's "Johanna" (not a reprise of the earlier "Johanna") in Sweeney Todd: The Demon Barber of Fleet Street is routinely cut from most productions (including the original 1979 Broadway production (though it can be found on the cast recording), the 1984 taped peformance and the 2007 movie), due to its high Squick rating. Additionally, "Parlour Songs" is either cut or abridged in most productions (usually leaving out "Tower of Bray"), an additional Contest segment (The Toothpulling Contest) is almost always cut, and "The Beggar Woman's Lullaby", added for the London revival, is sometimes cut as well.
Gilbert and Sullivan had a lot of cut songs, most of which were cut for length after the first few performances. (Many surviving songs had the number of verses reduced for the same reason.) The music to about half of these cut songs is lost, but a good number survive intact and are occasionally performed:
"Fold your flapping wings" from Iolanthe. This very serious, from-the-heart song for Strephon was cut from the middle of the second act because its tone was too out of step with the rest of the play.
From Ruddigore, Robin's second-act patter song (not the trio) exists in two versions; neither is commonly used. A few D'Oyly Carte revivals in the 20th century also cut Rose's first-act duet with Richard, her half of their second-act number "Happily coupled are we," and the second-act finale "When a man has been a naughty baronet" (which was replaced with a simplified reprise of "Oh, happy the lily" from the first-act finale).
"Come mighty must", a rather extended series of grammar puns, is often cut from modern productions of Princess Ida.
"Happy are we in our loving frivolity" was the original opening to Act II of The Sorcerer. It was replaced with a much more complicated opening in the revival, in order to give a little more spectacle. It's occasionally added later in Act II. Sorcerer also has a rather bizarre cut: Lady Sangazure has a recitative in Act I that, unlike practically every other piece in Western music, fails to resolve to the tonic at the end, instead setting up an unused key change. This is because it was originally meant to transition into a cut song, and the recitative was neither revised or cut when the following song was.
Averted in The Mikado: Gilbert planned to cut the title character's song "A More Humane Mikado" before opening night, but ended up not doing so (allegedly by request of the chorus). Posterity seems to have sided with the chorus; it's one of the operetta's best known songs. The incident is dramatized to great effect in the film Topsy-Turvy.
The Yeomen of the Guard is particularly notable for the number of cut songs that still survive. For example, Colonel Fairfax's aria "Is Life a Boon" has alternate music. Wilfred's Establishing Song, "When jealous torments rack my soul," is a particularly unfortunate cut (made when Rutland Barrington left the cast): It's one of Sullivan's most unique works. Some productions that restore these cut "Rapture, rapture" instead. Also, Sergeant Meryll has "A laughing boy but yesterday," cut because Gilbert decided at the last minute that it was irrelevant.
"Though men of rank may useless seem," an entrance song for the Duke in Patience.
The Grand Duke, the last of the G&S operettas, is a notable aversion. Because it was a failure in its first run and was not revived in Gilbert or Sullivan's lifetimes, it didn't get the pruning that the earlier G&S operas did. The result is a consensus that The Grand Duke is too long, but no consensus on what to cut.
"Momma's Talkin' Soft" from Gypsy, which originally was intertwined in a Counterpoint Duet with "Small World" and meant to foreshadow the "Momma's talkin' loud" section of "Rose's Turn," was cut because it was sung by the young June and Louise on a piece of the set that was above the action, and the child actress playing young Louise was afraid of heights. Despite still being cut however, this song is included in the 2008 Patti LuPone Revival Cast Recording, along with a few others:
"Mother's Day," an earlier idea for Baby June's act.
"Nice She Ain't," Herbie's only solo number. Jack Klugman felt his pitiful singing voice didn't deserve a Superfluous Solo.
"Smile, Girls," a second-act opener for Rose which was introduced and discarded during the Philadelphia tryout.
"Who Needs Him?" was to have been sung by Rose after Herbie's departure; it was replaced by a short reprise of "Small World."
"Three Wishes For Christmas," for the Minsky Christmas show.
Chess has gone through countless revisions, so the selection of songs between productions (and during the run of some more troubled productions, especially Broadway) can be inconsistent in general. Some notable examples include:
The surprisingly good Villain Song "Let's Work Together" was cut from the surprisingly bad Broadway version.
And then there's the rarely-used Infodump "The Story of Chess". Most American stage versions put "Let's Work Together" back and throw that one out.
The song "When The Waves Roll Out To Sea" was written for Chess but never made it into the show until the Swedish production, where it's sung by Molokov with entirely new lyrics (aside from being in Swedish).
The Broadway production also had "East/West" which only made it into a couple performances before being cut.
The Broadway version had "The Arbiter's Song" rewritten for a new scene at the start of the second act, which then had to be cut for time.
The original London production's act two Opening Ballet "Golden Bangkok" got cut sometime during the run.
The Concept Album includes an argument between Florence and Anatoly (called "Argument") which was replaced with the less hostile "One More Opponent" when the show was staged in London. "Argument" itself is pretty much never used in productions, but Broadway's "How Many Women" and the Swedish equivalent of "Florence Quits" use the tune (and other parts of the show, like "Anatoly and Molokov," feature variations anyway.)
"Gabey's Comin'" was originally cut from On the Town, despite having significant musical motifs echoed in the "Lonely Town" sequence and in the big Dream Ballet (and a Title Drop in its lyrics). More recent productions have reinstated it. Other notable Cut Songs include "The Intermission's Great," an Irrelevant Act Opener in the extreme, and the blues song "Ain't Got No Tears Left," and Hildy's But Liquor Is Quicker song, "Say When."
A Funny Thing Happened on the Way to the Forum has a bunch of Cut Songs, including "There's Something About A War" (replaced with "Bring Me My Bride"), "Echo Song" (replaced with "That'll Show Him") and the duet "I Do Like You" for Pseudolus and Hysterium. Speaking of Pseudolus and Hysterium, their reprise of "Lovely" was actually written first, and when Hero and Philia's first-act duet "Your Eyes Are Blue" was cut, it was simply copied, orchestration and all, into that spot. Cut but retaining a presence in the score were "Love Is In The Air" (one of two rejected opening numbers) and "The House Of Marcus Lycus." The first half of the original opening number "Forget War" was rewritten slightly and turned into the opening number for The Frogs, retitled "Invocation And Instruction To the Audience." Also, many productions cut the trio "Pretty Little Picture," which is not easy to sing.
The original Troubled Production of Leonard Bernstein's Candide in 1956 was followed in subsequent decades by a controversial series of revisions which included a wholly rewritten libretto. The score consequently went through many, many changes, and here is an incomplete summary of the songs that were cut from the various productions:
The 1974 Broadway revival rewrote the show in one act, with many songs thrown out (and the orchestration heavily reduced) and lyrics to some others entirely rewritten by Stephen Sondheim. One of the Sondheim lyrics, "Sheep Song" (a replacement for "The Ballad of Eldorado"), used the music of "Fernando's Lullaby," which had been cut in the show's earliest stages of production; another Sondheim lyric, "This World," was a new version of "Candide's Lament," a song version of Cunegonde's Leitmotif which had been cut in most previous productions. Sondheim also wrote new lyrics for the verse part of "Ring Around a Rosy" so it could be incorporated into "Auto-Da-Fé," whose refrain uses the same tune.
The 1982 Opera House version expanded the 1974 version back to two acts, restoring to the score "Dear Boy" (cut from the syphilis-free 1956 production but included in an appendix to the original vocal score), "Alleluia," "Chorale/Battle Music," "The Paris Waltz" (as "The Governor's Waltz," but still an instrumental), "Money, Money, Money," "What's the Use?", "Quartet Finale" (now sung before "My Love," which it originally reprised), "The Ballad of Eldorado" (as "The Ballad of the New World") and "Quiet"; the first two had been cut in most earlier productions, and the last three had new lyrics written by Richard Wilbur. The duet for the Arab Conjurer and Infant Casmira (two characters who only appeared in the withdrawn Lillian Hellman libretto), which was already being cannibalized for instrumentals in the 1974 version, also had its original coda (already cut in the 1956 production in favor of "Pray For Us") restored to the Lisbon sequence with new lyrics.
The 1988 Scottish Opera Production and the composer's Final Revised Version restored a few songs to their original lyrics (including an untitled abridgement of "Ring Around a Rosy") and stuffed even more songs into the score, including "The Kings' Barcarolle," "Nothing More Than This" and "Life is Neither," which had been cut from the original production and used only infrequently before 1974. A few numbers were not restored: the "Sheep Song," most of the vocals to "Alleluia" (which remained on the composer's recording) and the aforementioned duet for the Arab Conjurer and Infant Casmira.
The "Lost in Boston" albums consist entirely of Cut Songs from various Broadway musicals. Among the ones recorded are a few of the dozens of Cut Songs written for 110 In The Shade.
It's commonly believed that "Always" was a Cut Song from The Cocoanuts, since Irving Berlin published it around the same time as the songs he wrote for the show. Actually, "Always" was never part of the show at any stage of its production, though the possibility of Groucho singing it was vaguely considered.
In the original London production of Les Misérables Cosette had an aria called "I Saw Him Once," and Gavroche's song "Little People" was much longer. Both songs were eventually cut, but can be heard on the London cast recording. Many other songs, such as "Fantine's Arrest" had additional lyrics and "Stars" was originally placed much earlier in the show. These extended versions can be found on the preview rcordings: 
The 2012 film adaptation of the musical leaves all the songs intact (albeit with slightly rearranged order and some omitted verses) except for "Dog Eats Dog", the song Thernadier sings while looting the dead bodies in the sewers.
"Ten Little Bullets" was originally Gavroche's death song, but the Dark Reprise of "Little People" supplanted it. It was reinstated in the 2006 Broadway revival.
The original French production from 1980 (which predated the first West End adaptation) had a few songs that were cut or heavily changed in the transition to adapting it to English. Fantine's first solo was originally "L’Air de la misère" ("Air of Misery"), which was rewritten, moved, and re-assigned to Eponine as "On My Own". Eponine's solo was the much different "L'Un Vers L'Autre" ("One After the Other"). The song "Look Down" was originally "Donnez, donnez" ("Give, give") and had a much longer solo part for Gavroche. Madame Thenardier also had the solo "Mamzelle Crapaud" ("Miss Toad"), in which she oddly enough mentioned her second daughter Azelma, who was Adapted Out of subsequent productions and who otherwise played no relevenat part in this version. Gavroche's solo "La Faute à Voltaire" was cut down significantly to become "Little People".
The Embassy Ball music in My Fair Lady is based on two Cut Songs: a Fanfare version of "Say a Prayer for Me Tonight" (which was somewhat inappropriately reused in Gigi — "Pray I'll be Wellington, not Bonaparte" is an uncharacteristic sentiment for a French girl), and the waltz song "Lady Liza," whose replacement, "Oh, Come to the Ball," was also cut.
Miss Saigon originally had a song called "Too Much for One Heart" that was cut for timing purposes. Lea Salonga still performs it in her concerts because it was that good.
Lady in the Dark had several numbers that disappeared as the dream sequences underwent revision:
"It's Never Too Late To Mendelssohn" was written for Danny Kaye to sing in the second Dream Sequence. The song went unused (except for a few lines spoken under a completely unrelated melody), but Kaye recorded it.
"You Are Unforgettable" was written for a deleted part of the second Dream Sequence, after "The Princess of Pure Delight." The song was assigned to the character of Russell Paxton, appearing here as a movie director.
The third Dream Sequence originally had the song "No Matter Under What Star You're Born" as Liza's astrological excuse for not Making Up Her Mind, but it played poorly and was replaced by the show-stopper "The Saga of Jenny." The zodiac number was reused with substantial revisions in The Firebrand of Florence.
"Bats About You" was sung by a young couple at the graduation dance in the flashback sequence. (Unlike other cut numbers, it was orchestrated, though not by Weill.) Gertrude Lawrence at one point wanted it to be rewritten to replace the refrain of "One Life to Live" (which instead remained practically unchanged).
"My Magic Lamp" and "Bored" were cut from Kismet, but the former remained in the underscoring preceding the finale and the latter was kept as Lalume's entrance music. (Like many of the other songs, their melodies were derived from Borodin's Prince Igor.) "Bored" was sung in the movie version, and both songs reappeared in later stage productions. One edition of the show also cuts "He's in Love!"
Most Cirque du Soleil shows have original scores. If an act is dropped its corresponding song usually is too, though sometimes they are repurposed for understudy acts. Since soundtracks usually arrive within a year or two of a show's opening, this can make listening to some of them confusing. Notable examples of this trope include:
Mystere had "Rumeurs", "Caravena", and "Birimbau" — all for acts that were cut and replaced less than three years into the show's run. They all appeared on the original soundtrack album, but after the show's revamp it had a second soundtrack recorded which included the material written to replace the old songs, and the original fell out of print. (Curiously, the company's 2009 Greatest Hits Album25 used "Birimbau" to represent this show even though no trace of it remains in the score.) One of the replacements, simply titled "High Bar", was dropped in 2012 when the act in question was replaced with a trapeze act and the new song "Fiesta".
Banana Shpeel was written as a hybrid of Cirque, vaudeville, and musical, but all the originally-written songs (and their key singers) were cut when it proved to be too many elements and characters to handle — which was so late in the game that the preview of the show that ran on the 2009 season finale of America's Got Talent featured one of the tunes.
In Saltimbanco, "Pokinoi" was the song for the Vertical Rope act, which has long since been retired and is absent from the video. Later live performances used it for the second interlude, and it was also reworked as "One Love" for Delirium. "Kaze/Norweg" was completely dropped after the retirement of the Double Wire.
Many passages were cut from Puccini's opera Madama Butterfly following its troubled La Scala premiere. Most of the cut passages were short and recitative-like, but they also included a drinking song for Yakuside.
Puccini's Il tabarro had Michele's aria "Scorri, fiume," whose music was mostly (but not entirely) the same as its replacement, "Nulla! Silenzio!" Puccini apparently demanded the rewrite because he wanted Michele to be more concerned with plotting revenge than contemplating suicide.
The stage version of Jekyll & Hyde went through several iterations of cuts in its years long trip from off-broadway to on. The original stage production was almost throughly rewritten, axing songs like "Love Has Come of Age" in favor of "Take Me As I Am", it was made into a new album to drum up interest and funds for the Broadway production, and between those last two were several other cuts; Lucy's "Bring on the Men" (replaced with the darker and more thematic "Good 'N' Evil") and "Girls of the Night", Jekyll's Dark Reprise of "Once Upon a Dream" and overall, too many to list. The show overall is probably better for the cuts but many of the cut songs were excelent on their own.
With that last point in mind, while "Good 'N' Evil" is more thematically appropriate to the story, there are productions that cut it and reinstate "Bring on the Men"!
"My Best Love" from Flower Drum Song, cut because neither of the parents had the voices to sing it.
"When Messiah Comes" is perhaps the best-known Cut Song from Fiddler on the Roof. It was to have been sung by Tevye in the final scene, but its gallows humor tone didn't go over with preview audiences. One of the other Cut Songs, the rejected opening number "We Haven't Missed a Sabbath Yet," has lyrics for a tune that ultimately remained in the score only as set change music.
The 1988 revival of Anything Goes (more faithful to the original Cole Porter score than the 1962 revival, which recycled several cut songs from Porter's other musicals) actually reinstated two songs cut from the original production: "There's No Cure Like Travel" (countermelody to "Bon Voyage") and "Easy To Love" (which had been reused in the movie Born to Dance). The 1988 version also added "Goodbye, Little Dream, Goodbye", a cut song from Red Hot And Blue. On the other hand, "Where Are The Men?" was left out, as it had no purpose other than to give the Chorus Girls a turn.
In one early draft of the show, "What a Joy to Be Young" was to be given several reprises. It was dropped during tryouts, despite one recording implying that it made it into New York.
"Buddie Beware" was cut during the original run in favor of a reprise of "I Get a Kick Out of You."
"Thousands of Flowers" was arguably the best song Tom Jones and Harvey Schmidt wrote for I Do! I Do! It didn't survive the pre-Broadway tryout.
"Silly People" was a song cut from the Stephen Sondheim musical A Little Night Music during Boston try-outs. It was to have been by sung by Frid, a character who doesn't do much for the show (and otherwise doesn't sing) except serve as a lover for Petra. (The original Frid, George Lee Andrews, can be heard performing "Silly People" with Tunick's orchestral accompaniment in the contemporaneous concert recording Sondheim: A Musical Tribute.) Trevor Nunn reinstated the song for his recent London production and it quickly became clear why it had been cut. The music is sub-par for Sondheim, while the lyric is essentially a less elegant rehash of the ideas explored in "The Miller's Son", which is sung not a few minutes later by Petra.
Other cut songs from A Little Night Music include "Two Fairy Tales," a duet for Anne and Henrik in Common Time (otherwise avoided in this show); "Bang!", a sex-as-war song for Carl-Magnus and Désirée set to the same polonaise rhythm as "In Praise Of Women"; and "My Husband the Pig," an extended solo for Charlotte from which a few lines were salvaged and developed into "Every Day A Little Death."
South Pacific had "Loneliness Of Evening," which appeared in the 1965 remake of Cinderella; "My Girl Back Home," used in the 1958 movie version of South Pacific; "Suddenly Lucky," a song for Cable (replaced with "Younger Than Springtime") whose refrain reappeared in The King and I with new lyrics as "Getting To Know You"; and "Now Is The Time," the music of which was retained for several scene changes.
Cabaret features a number of cut songs, most notably "I Don't Care Much", which is used in later productions, sung by the Emcee. Other cut songs include "Roommates", "Good Time Charlie", and "It'll All Blow Over". Also, while they are present on the Original Cast Production, "Meeskite", "Telephone Song", and "Sitting Pretty" are usually cut to make room for "Mein Herr", "Maybe This Time", and "Money, Money", which originated in the movie soundtrack.
Shortly after the Broadway opening of Camelot, "Then You May Take Me To The Fair" and "Fie On Goodness" were cut, but it was too late to take the songs off the original cast album. They have often been reinstated.
When Annie Get Your Gun was revived in 1966, the songs "I'll Share It All For You" and "Who Do You Love, I Hope?" were dropped, along with the charming but inconsequential Beta Couple who sang them.
Larry Grossman and Hal Hackaday wrote a title song for Woody Allen's non-musical play Play It Again, Sam. This was recorded by Tony Bennett but ultimately unused in the play.
Six songs were cut from Kiss Me, Kate: "It Was Great Fun The First Time," for the principal couple, was to have been the second number when the show opened with "Wunderbar"; "We Shall Never Be Younger" and "A Woman's Career" were replaced with "So In Love" and its second-act reprise; "What Does Your Servant Dream About?" was a comic interlude for the servants; two others, "I'm Afraid, Sweetheart, I Love You" and "If Ever Married I'm," were never dramatically required.
Mark Charlap and Carolyn Leigh wrote some splendid songs for Peter Pan like "I've Gotta Crow" and "I'm Flying," but other numbers were apparently unsuitable and replaced with new ones by Jule Styne and Comden And Green. Perhaps the most poignant of the cut Charlap/Leigh songs was "When I Went Home," reflecting on Peter's Parental Abandonment, which was apparently too dark and replaced with the Styne/Comden/Green "Distant Melody."
Several duets for Abner and Daisy Mae were cut from Lil Abner; of these, "I Wish It Could Be Otherwise" was used in the movie version, and "It's A Nuisance Having You Around" was recorded by Rosemary Clooney. Mammy Yokum was left without a number of her own when "The Way To A Man's Heart (Is Through His Stomach)" was cut. "There's Room Enough For Us," a List Song with far more lyrics than could ever be used, was dropped except for a brief reprise used as a Set Switch Song. "In Society" remained only as instrumental accompaniment for a dance sequence.
Two songs were dropped from the second act of Call Me Madam: "Mr. Monotony" (which had already been cut from the movie Easter Parade and the preceding Irving Berlin musical, Miss Liberty), and the political number "Free." Hopelessly irrelevant in Call Me Madam, "Mr. Monotony" was replaced with the livelier "Something To Dance About," though it would rise again a generation later in Jerome Robbins' Broadway. As for "Free" (whose deletion made room for the newly written "You're Just In Love"), it was recycled with different lyrics in White Christmas as "Snow."
"I Got A Hobby" and "Bad" were deleted, because they were replaced by "Dentist!" and "Mean Green Mother From Outer Space" respectively, which are both better songs.
"The Worse He Treats Me" was deleted because it mischaracterized Audrey (depicting her as an intentional masochist, rather than someone stuck in an abusive relationship).
"A Little Dental Music" was cut because it's unnecessary for the plot and supposedly hurt the timing, although some disagree.
"We'll Have Tomorrow" was stated to be cut for timing, but very few people believe this, considering that it would have been one of the more emotionally significant songs in the show. It's likely that it was cut out because it was too depressing. The song has never been reinstated, leaving only an Orphaned Reference to it in the finale.
A little-known cut song called "The Meek Shall Inherit (Reprise)" would have been a reprise of "The Meek Shall Inherit" for Patrick Martin, and was cut for unknown reasons as none of the creators have ever mentioned it.
The new U.S. touring production of Beauty and the Beast (launched in 2010) drops two of the stage-version-only songs, "No Matter What" and "Maison Des Lunes", as well as the choreographed battle between the Enchanted Objects and the mob. The consensus is that these were dropped for pacing purposes.
Many songs from the original version—"Engine of Love," "Call Me Rusty," "He Whistled at Me," "Belle the Sleeping Car," "Wide Smile, High Style," "No Comeback," and others—were cut in the 1990s to modernize the show and to add a much greater focus on the character Pearl at the expense of the rest of the cast. Eventually, "He Whistled at Me" was rewritten as "He'll Whistle at Me," with different arrangement and lyrics and a much earlier appearance in the show.
"A Lotta Locomotion" was changed almost completely for the 2003-2007 tours, going from a cute, cheeky, Double Entendre-laden "I Am" Song to an overtly sexual Chorus Girls-style number with an arrangement more typical of the Pussycat Dolls. The tour also removed "There's Me" and "Coaches' Rolling Stock" for financial purposes.
Even before the '90s revamp, "Engine of Love," the first song ever written for the show, was replaced with "Call Me Rusty" when Starlight Express made its debut, but the Japan/Australia tour and early Bochum productions included the former instead. In 1992, "Call Me Rusty" was cut, leaving Rusty without a genuine establishing song—"Crazy," its replacement, was one of his many attempts to impress Pearl.
The 1980s Broadway production deleted "He Whistled at Me" in favor of "Make Up My Heart," making Pearl's first solo an angst-ridden pop ballad rather than a bouncy, erotic disco number.
"No Comeback" was cut in the 1980s to shorten the show, but the melody remained as a Leitmotif for Electra and his components.
The original Dream Ballet from Tanz der Vampire, called simply "Tanznummer" on the official recording, was cut in all later productions. It was replaced by "Stalker Als Wir Zind/Das Gebet", except in the Japanese version, which is the only production so far to restore it.
"Marking Time" from Pippin was judged to be not indignant enough for its spot and replaced by "Extraordinary," but its tune remained in the show as the underscoring for a romantic moment with Catherine. Some productions also drop one or more of the minor numbers "Welcome Home," "There He Was" and "Prayer For A Duck."
The score for Vanities: A New Musical was revamped no less than three times.
"Nothing Like a Friend", "All The Brendas In The World", and "Open Up Your Mind" disappeared after the initial Theatre Works production in Palo Alto, replaced by "Cute Boys with Short Haircuts" and "Let Life Happen", and "In The Same Place" was rearranged into "The Same Old Music".
The finale song changed from "Looking Good" to "Letting Go" in the Pasadena Playhouse version, then back to "Looking Good" in New York's off-Broadway Second Stage Theater version, then to "Letting Go" once again in Seattle's 5th Avenue/A Contemporary Theatre co-production. "Hey There, Beautiful", "Who Am I Today", "I Don't Wanna Hear About It", and "Feelin' Sunny(We're Gonna Be Okay)" were also dropped from the Off-Broadway show, replaced by "I Don't Wanna Miss a Thing"(no relation to the Aerosmith song), "Setting Your Sights", and its reprises, respectively. "Let Life Happen" was repositioned to take the place of "Okay", and "I Can't Imagine"'s reprise, "Counterpoint", was turned into a Dark Reprise and retitled "The Argument".
In turn, the 5th Avenue/ACT version replaced "Sights" with "Mystery". Some remnants of cut songs appear in the others, e.g. a melody used in "Feelin' Sunny" also appears in "I Can't Imagine", the melody of "Nothing Like a Friend" is used in the intro of "Fly Into The Future", the off-Broadway version of "Looking Good" still drops the title of "Hey There Beautiful" near the end, and parts of that song's lyrics made their way into "I Don't Want to Miss a Thing".
Martin Guerre has so, so, many, due to the many rewrites. Songs cut between the original version and rewritten version include, 'Sleeping On Our Own' 'Here Comes the Morning' 'Welcome Home' 'When Will Someone Hear' 'Land of the Fathers,' and the beautiful 'Prologue' Songs whose melody remain but with changed lyrics include "I Will Make You Proud," "Me," "Martin Guerre" and "Tell Me To Go."
The London production also had "Time", an additional song and music video that would be played on the onstage video screens towards the end of the intermission. They stopped playing it for unknown reasons.
The Unsinkable Molly Brown: "Colorado My Home," originally the last song of the score, was cut from the show, but nevertheless remained in the Medley Overture. It was later reinstated for Johnny alone in his first scene.
"There's Always a Woman," a Fay/Cora number for a deleted scene in the third act.
"There Won't Be Trumpets" was in fact cut during the original Broadway run (which lasted only a week) because the monologue right before got already enough applause. The song was reinstated soon after.
A few other cut and replaced numbers can be heard on Stephen Sondheim's demo recordings: "The Lame, The Halt And The Blind" (replaced by "Miracle Song", but still used in the show as incidental music), "A Hero Will Come" (replaced by "There Won't Be Trumpets"), and an early version of "With So Little To Be Sure Of."
Most of Marie's singing opportunities were cut. Orchestrator Don Walker rued in particular the deletion of "Eyes Of A Stranger," which preceded "Don't Cry." "Is It Fair?" was part of the second act sequence that starts with "Young People." An abortive third act reprise of "Nobody's Ever Gonna Love You" remained, but the song originally capped a long Marie/Tony sequence in the first act, of which "A Long Time Ago" was a remnant.
"Wanting To Be Wanted," replaced by "Somebody, Somewhere." The orchestral cry of anguish that punctuates "Please Let Me Tell You" is based on its tune.
The original producers The Golden Apple eliminated the original final number, "We've Just Begun," in favor of a reprise of "It's The Going Home Together." (An abridged version of this reprise can be heard on the heavily abridged original cast recording.) The authors resented this Executive Meddling and reinstated "We've Just Begun" in the licensed edition of the show.
Porgy and Bess: A lot of things had to be cut out before the show's 1935 Broadway opening, unfortunately including "The Buzzard Song," which has been in most productions since (although the 1940s revival moved it to the final scene). Less surprising cuts made were the mostly-instrumental "Jazzbo Brown Blues," which most productions cut to avoid delaying "Summertime" for a long piano solo at the beginning of the show (it was the very first number to be cut), and "I Hates Yo' Struttin' Style," spoken rather than sung by Maria to Sportin' Life.
Many songs were cut from The Addams Family between the Chicago try-out and Broadway, including "Clandango" (replaced by "When You're An Addams"), "Passionate and True" (replaced by "Where Did We Go Wrong"), "As We're Slowly Dying" (a very brief duet between Wednesday and Lucas), and "At Seven/Teach Him How To Tango" (replaced in part by "Morticia"). "Let's Not Talk About Anything Else But Love," originally a dance number featuring Fester, the ancestors, Wednesday, and Lucas, was moved to the second act and changed into a shorter song performed by Gomez, Fester, Grandma, and Mal. The tour version complicated things by cutting "Morticia," "In The Arms," and "Where Did We Go Wrong" entirely, although the tune of the latter can be heard in part of Gomez's new song, "Trapped"- and the soundtrack is that of the Broadway version.
Damn near the entire original score of Grease was replaced in the move from Chicago to Broadway, with only a couple songs ("We Go Together" being one) remaining. The title number "Grease" in Act II (unrelated to the song made for the film) was cut, "Foster Beach" was replaced with "Summer Nights", an Act II song called "Rock Progression" was rewritten to be "Those Magic Changes", Sandy had a solo entitled "Kiss It" (replaced by "All Choked Up" ), and there was a song called "Boogie Man Boogie" instead of "Born To Hand Jive". The reprise of "Look at Me, I'm Sandra Dee", "Rock N' Roll Party Queen" and "Alone at the Drive-In Movie" were added for Broadway, though the singer of the last one changed from Kenickie to Danny over the course of production.
Miss Lynch and Patty also had solo songs, respectively entitled "In My Day" and "Yeuuugh!" (sometimes listed as "Yuck!" or "Yeee-eeuuch!"). Patty's song almost made it to Broadway, but was cut for time.
"Rydell Fight Song" was substituted in as a short number for Sandy and Patty, while it was made a solo for Patty in the 2011 revival.
The 2011 Chicago revival (titled "The Original Grease") resurrected a number of these songs, as well as a few that were cut from the original production, such as "Comin' At Ya" and the a capella "Tattoo Song". It also included a handful of more familiar tunes, such as including both "Hand Jive" and "Boogie Man Boogie", with the former being used to end off the dance sequence. The "Greased Lightnin' Reprise" from the '94 Broadway version wound up included as well, as another solo for Rizzo. "Kiss It" and "All Choked Up" are also paired together.
Warren Casey had written a solo song for Danny, but had never titled it and it was scrapped. It was added into the 2011 production with the title "How Big I'm Gonna Be".
There were three other songs that existed in early script drafts for the Kingston Mines version, though these ones have not been reinstated anywhere. It's unknown which characters were to sing them, but the titles are given as: "Inquest of Love", "All Clear", and "Think Of All The Starving Orphans". "All Clear" was intended to be in The Original Grease, but was cut so the show would not run too long.
Most recent tours of Cats eliminate the song "Of The Aweful Battle of the Pekes and the Pollicles", perhaps because of its strangely racist lyrics. Strangely, some programs still include the name of the Great Rumpus Cat, even though that character only appears in the cut song. In a similar vein, the film version does not include "Growltiger's Last Stand," since the same actor traditionally plays Gus and Growltiger, and Sir John Mills was too frail to play Growltiger. (Sometimes "Growltiger's Last Stand" is cut instead of "Aweful Battle" because the former requires a drastic change of scenery and costumes.)
Love Never Dies had a soundtrack recorded before it officially opened, and thus all the songs that were cut/altered in its massive retool were preserved.
Originally, the show had a prologue set a few years after the main action and sung between Madame Giry and Fleck (one of the freaks in the Phantom's employ) in the burnt-out remains of Phantasma, which led into "The Coney Island Waltz". Fleck also had a brief song afterward, "That's the Place You Ruined, You Fool!" In the Australian production, the prologue lyrics were incorporated into "The Coney Island Waltz" sequence and given to the Phantasma performers.
"Heaven by the Sea" was a Crowd Song for the Coney Island visitors that opened the main action and was reprised in Act Two; the retooled opening sequence made this redundant, and the melody was worked into a revised version of "Only for You" instead.
"Giry Confronts the Phantom", largely an As You Know monologue for Madame Giry explaining what happened between Phantom and this show, was reworked into "Ten Long Years" for her and Meg, in which they reflect on those events upon hearing of Christine's impending arrival in America.
Street Scene had "Italy in Technicolor," a duet for Lippo and Mrs. Maurrant which Kurt Weill composed as a rhumba for some reason. It was cut when the second act needed to be shortened.
The Desert Song had two published songs that were dropped from the score. One was the Beta Couple's "Let's Have A Love Affair," mentioned above. The other, "Love's Dear Yearning (Dreaming in Paradise)," was only published under the show's tryout title Lady Fair, since it was replaced (except for the verse, which ended with "make you fly with me") by what became the title song.
The off-Broadway production of Spring Awakening had "There Once Was a Pirate" as the second act opener, which was briefly replaced by a different song, "Once Upon a Pirate Night," before being reinstated, and then replaced again by "The Guilty Ones" when the show moved to Broadway. A reprise of "There Once Was a Pirate" sung by the girls was, naturally, cut with it, and Broadway also lost reprises of "Mama Who Bore Me" and "Touch Me" sung by Anna.
Songs that were present in workshops of Spring Awakening but cut by the time the show appeared off-Broadway include "All Numb" (replaced by "All That's Known"), "A Comet On Its Way" (replaced by "The Bitch of Living"), "The Clouds Will Drift Away" (replaced by "Those You've Known"), and "Great Sex" (not replaced, rather the scene it accompanied was paired with an existing song instead).
The Madison Square Garden stage production and cast album of A Christmas Carol The Musical originally included the song "The Years are Passing By" sung by the gravedigger, but it was removed from later stagings and the 2004 film version, replaced with the "Christmas Day is Near" carol that is incorporated into "Jolly Good Time", which replaced "Jolly, Rich and Fat", whose Dark Reprise is still present during the graveyard sequence. "The Lights of Long Ago Part 2", originally heard during the Time Passes Montage including Fezziwig being turned down for a loan, Emily leaving Scrooge, and Marley's death, was also deleted, although the instrumental backing was retained.
"The Blob," part of the 1962 party scene, was reduced to background music in the original production. Revivals brought Gussie's solo back in an extended form.
"Honey," a love duet for Frank and Beth, was permanently replaced by the anti-Dark Reprise of "Not A Day Goes By."
Assassins was once planned to have opened with "Flag Song," sung by bystanders watching an imaginary parade of presidents. The tune, echoes of which can be heard in "Another National Anthem," was salvaged by Sondheim for "It's in Your Hands Now" in Road Show.
Flashdance: The Musical's score underwent major changes between the UK tour/West End and US tour/Broadway productions. More than half of the songs were replaced, and the order of the songs was also changed. The only songs used from the film are "Maniac", "Manhunt", "I Love Rock & Roll", "Gloria", and "What a Feeling", the rest were axed.
The P.D.Q. Bach opera, The Abduction of Figaro has several:
In the first act, Donna Donna and Blondie have a duet, "Sadness, Woe" that even the score feels can be cut.
In Knickerbocker Holiday, Tenpin's "Bachelor's Song (There's Something About A Bachelor)" was cut after being orchestrated by the composer. It can be heard on the concert recording by the Collegiate Chorale.
At least three songs were cut from A Chorus Line: "Joanne" about Mike's crush on a neighborhood girl, "Confidence" as sung by Richie and Connie over the pressures of being a non-white auditioner, and "Inner Feelings" from Cassie's point of view about Zach. The 2013 London revival cast album was supposed to include these as bonus tracks, but the album was cancelled.
The "Jet Song" has a short bridge ("Oh, when the Jets fall in at the cornball dance") that is almost invariably cut. Although this is not a separate number in itself, the "Blues" that begins the Dance at the Gym reprises it as dance music. The bridge was a remnant of "Up To the Moon," an earlier attempt at an opening number for the Jets whose music was recycled into both Prologue and "Jet Song." "Up To the Moon" also included lyrics ("Carazy, Daddy-O...") for the 2/4 version of the show's most prominent Leitmotif.
"Like Everybody Else" was a trio in the middle of the first act for Anybodys, Baby John and A-rab complaining about not being taken seriously because they're respectively just a girl, Just a Kid and just too short. It was removed because Arthur Laurents felt that it set a too frivolous tone for the show ("Gee, Officer Krupke" hadn't been written yet).
On A Clear Day You Can See Forever, by the time the vocal score was printed, had been revised considerably, with three songs from the eighteenth-century flashback sequences dropped: "Tosy And Cosh" (replaced with "He Isn't You"), "Ring Out The Bells" and "Don't Tamper With My Sister." Snatches of the first two cut songs remained in underscoring.
Carousel had no songs cut for the original production (though many of the longer numbers had bits and pieces taken out). However, since the 1990s revival starring Michael Hayden as Billy Bigelow, it has become common to cut "The Highest Judge Of All," a vocally taxing number with an uninteresting melody apparently left in to allow time to change the scenery behind a drop curtain as Billy is taken up to the Afterlife Antechamber.
2013's Charlie and the Chocolate Factory has an unusual case of a Cut Song being reinstated in the rehearsal stage — "It Must Be Believed to Be Seen" was the first song Marc Shaiman and Scott Wittman wrote to serve as Willy Wonka's introductory number and the Act One finale, but was cut in favor of a "bigger" song (title unknown). Once the show reached the rehearsal stage, actor Douglas Hodge regarded the new song as too bombastic and scary, so Shaiman and Wittman — who had their own doubts about it by then — played "It Must Be Believed to Be Seen" for him. With further tweaking it was back in the show.
Goldilocks has eight deleted numbers published in The Leroy Anderson Songbook, including "Little Girls Should Be Seen (And Not Wed)," an anti-marriage song less frantic than "I Can't Be In Love," and "Tagalong Kid," a Counterpoint Duet for Lois and George. "My Last Spring" dates to the early stages of the show's production when Mary Martin was the intended star.
"Sooner or Later" from Disneyland's Splash Mountain, originally heard during the rabbit warren segment, was replaced by "Burrow's Lament", a Dark Reprise of "Laughing Place". In turn, the Disney World version of the ride skips the vocal part of "Burrow's Lament" and only uses the alternate instrumental version, when Bre'r Rabbit is being tortured at the final lift hill. The instrumental of "Sooner or Later" can still be heard in the queue.
NES games in general have a lot of these. Because of the way the music in the games is coded, Dummied Out songs will exist but can't even be accessed by Sound Test menus or even Game Genie. It wasn't until NSF Ripping note where you extract the sound code from an NES rom entirely and store it as a file which can be played with a special program became popular that people knew these songs even existed.
For a video game example, the "Singing Mountain" theme from Chrono Trigger is fairly popular. It's still in the game's code and even made it to the game's official soundtrack, but it never plays in-game because the dungeon it was supposed to play in was never finished. There's also a second battle theme which shares a similar fate. Similarly, "Singing Mountain" plays in a new dungeon for the DS remake, and "Battle (2)" plays in the Arena.
Another video game example can be found in Final Fantasy X. Each of the main characters has his or her own leitmotif, but Wakka's curiously never plays at any point... except the Sphere Theater, which is basically a glorified Sound Test.
The sound test in Sonic the Hedgehog 2 contains a track for the Hidden Palace Zone that was cut from the game during development. In the smartphone ports, Hidden Palace Zone is made available through a secret entrance, but doesn't use that particular track, instead reusing the 2-player Mystic Cave Zone music. A version of the Hidden Palace Zone which does use this song was later added by playing certain songs in the sound test.
The American version of the original Sega CD version of Sonic the Hedgehog CD has a couple unused Red Book audio tracks on its disc; the first is actually the first CD audio track and sounds like an engine of some sort, while the second is after the title screen and is nothing special as it is simply a duplicate of the title screen theme. These can easily be accessed by putting the disc in a CD player or computer disc drive and playing/ripping the audio tracks.
An 8-bit rendition of Marble Zone is present in Sonic 1 for the game gear
Very common in video games where composition often starts before the games scenes and requirements are totally locked down, and where sections are often cut for time and budgetary reasons. Other video game soundtrack CD releases that contain music not used in the game itself include:
There are quite a few unused soundtracks in the Spyro the Dragon games, with most of those being from the first one. They can be heard in-game if you linger in a level long enough. The fourth game has three: Mid Flute, Andes, and Songa.
Several tracks were cut from the PAL release of Year of the Dragon, including most of the level themes from the final hub world, the final boss, and the speedways. This was mainly done to make room for the voice clips of the various European language, and can still be found in the NTSC and Greatest Hits releases.
The ROM of Ninja Gaiden 2: The Dark Sword of Chaos has the song "Inevitable", which is not used anywhere in the game, and even stranger, cannot even be heard in the sound test. It is thought to have been intended for the Final Boss, which uses the regular boss music instead.
The song "Organ Smash" on the Iji soundtrack was intended for the game but not used due to Daniel Remar being unable to find a good place to put it.
Banjo-Kazooie. There are four unused songs still in the game data, including twoversions of the Click Clock Wood theme, and something called "Mumbo's Raindance". The most notorious, however, is "Advent", mainly because it sounds totally unlike anything else in the game. Some theorized that it was for the cut level Fungus Forest, but in fact, it's actually left over from very early in development, when the game was still called Project Dream, and the song was meant to be used for a map screen.
Salamander 2 has three songs that were clearly intended to be stage music: "Fire Tripper", "No Future", and "Nervous Break Down". None of them can be normally heard in-game; you'll have to use a utility for listening to arcade ROM music or use the PS1 and PSP ports' sound test modes.
Nearly every arcade Gradius game has unused songs, dating back to an unused song in the original Gradius. that wouldn't see a real appearance until its use as the name entry music in Gradius ReBirth. The latter succeeds the former by 23 years.
The arcade version of Gradius III has an unused remix of Gradius II's "Maximum Speed", perhaps intended for a stage similar to the high speed zone in the SNES version.
The original Salamander/Life Force had several unused songs, some of which were used in the Japanese Updated Re-release (Life Force JP) and the Famicom/NES version.
Terror confirmed by Cave: Zatsuza exists. It's just that no one's managed to unlock it yet.
It's been unlocked, and is an alternate version of Hibachi.
The Vagrant Story original soundtrack includes "Inside the City Walls", which does not ever play in the game, though fans speculate that it was left out of the game unintentionally. The percussive second half of "Escape" does not play either.
One song from the N64 version (which had MIDI music), "Oblivion", was completely cut from the PC version (which uses Red Book audio), due to audio space limitations, and "Hive of the Mantids" is used in its place. Also, several songs were truncated to fit the CD, eg "Death Marshes" and "Lair of the Blind One's" are missing their epic climaxes.
The OST to the PC-8801 version of Ys I contains several deleted songs. "Theme of Adol" was used as the opening theme of the TurboGrafx-16 CD version, and several other songs such as "Chase of Shadow", "Dreaming", "Battle Ground", "Over Drive", "Fair Wind", etc. were used in the PC remakes of Ys I and II.
'' actually has an unused track hidden within its coding, not on the GBS itself strangely.
Final Fantasy II had a dummied out BGM (which was supposed to be a dungeon theme) "Dungeon" which was still in the game code. Six years later, this very song was enhanced for Final Fantasy VI as the BGM for the town of Jidoor during the World of Ruin. There were also a removed "Airship" theme (presumably removed for being too cheery in a rather depressing game), "Shop" theme, and "Battle Scene 3".
The Medal of Honor OST contains several songs intended for Dummied Out missions, such as "Approaching Colditz Castle", although they were later used in Allied Assault and its expansion packs, or in different missions than they were intended.
Halo 2's OST had the unused songs "Never Surrender" by Nile Rodgers, "Connected" by Hoobastank, and the other three movements of "The Odyssey" by Incubus. The first also had several outtakes, some of which were incorporated into the Anniversary remake. "Never Surrender" appeared as an Easter Egg in Halo: Reach.
GoldenEye on the Nintendo 64 has a Dummied Out music that appears to have been composed for the Jungle stage, which lacks music except for the battle with Xenia.
EarthBound has this, a frankly rather chilling rendition of the cave/dungeon theme from the prequel, that never appears anywhere in the final game. Strangely, it's present in the Game Boy Advance remake as well, though still unused.
The X-Universe series has a weird retroactive example. The latest games have every music file from all the previous games installed with them, but most of them never play in-game.
The arcade version of Super Contra has several unused tracks, one of which ended up being used in stage 5 of the NES port.
Hellsinker have a fair number of tracks hidden in the games files that seem to never have made the final cut. While some of them are incomplete and some just simple remixes of some songs, some however are more complex original songs and remixes. This one for example sounds like it was to be used as a stage theme.
A song known as "Song #65" in Diddy Kong Racing was originally to be used for the Pirate Lagoon course. For whatever reason, the finalized game re-uses the Treasure Caves theme, though the song is still present in the soundtrack as that 65th entry.
BEMANI games are known for having song data that don't appear in the final versions of the games. If you're lucky, the cut song in question may appear in a future game.
The original DanceDanceRevolution has data for two songs that didn't make it to the initial release: "Boys" and "Money". "Boys" ended up debuting properly in DanceDanceRevolution 2ndMIX, but "Money" wasn't so lucky.
beatmania IIDX 19 Lincle has data for the song "FLOWER", which instead made its IIDX debut in beatmania IIDX 20 tricoro.
The Sound Test of Yarudora series vol.2: Kisetsu O Dakishimete contains an unused track, Track n°17; given its place in the Sound Test (right between the beginning of Scene 18 and the confrontation scene), that fast-paced track was probably meant to be played during the very short scene in-between, where the protagonist hurriedly rides back to his home. Track n°16, the BGM playing at the beginning of Scene 18, is prolonged to that short scene instead.
Later on, a composer removed his music from "Homestuck Vol. 5" when he was caught accidentally plagiarizing another song.
"White Host, Green Room" contains a snippet from an unfinished song titled "The King in Red", which the composer later abandoned.
"Cascade", "Prospit Dreamers" and "Descend" credit a song known as "Penumbra Phantasm". This song has never been released and may have been abandoned.
When the first four music albums were combined into one compilation album two songs were removed: "Sburban Jungle (Brief Mix)" and "Aggrieve (Violin Redux)". As indicated by the titles, they were remixes of existing songs.
The album "coloUrs and mayhem: Universe A" was the result of a music contest. Two songs were removed after their composer was caught plagiarizing. They are due to be replaced with new songs with the same names.
Any song that hasn't been featured in an album is potentially a song cut from the comic, even if they've been included on albums. Inversely, songs that Adrew Hussie hadn't been able to use before might fit into a later flash, either the song itself, a remix, or included as a theme in a medley.
In the Nostalgia Critic's Les Mis Review the song The Critic Brings It Home was cut presumably for time reasons. That and Doug somehow made his voice sound like ear-poison.
The now-discontinued-due-to-C&D Midnight Channel: The Musical, based on Persona 4, had several songs that were planned but ultimately cut from the final production due to time constraints and lesser plot relevance. Notably, Saki's song 'I Never Got to Tell Him' and Adachi's hopeful reprise 'I Got Something' were cut. Incidentally, '100 Point Font', a Valentine's day promo sung by Rise about her unrequited crush on the Protagonist, was ultimately added to the official track list.
The S3M files for Future Crew's 1992 demoUnreal(not to be confused with the later Unreal FPS) contain several unused music cues.
"The Ballad of Klimpaloon" from Phineas and Ferb "Summer Belongs To You". The song is included on the soundtrack.
Candace's song, "Some Mysterious Force" was cut from the movie. It's on the DVD with accompanying animation.
Several other songs never made it past the demo versions, such as "You're Wrong", "This is Our Inspirational Song"note a much more tongue-in-cheek, lampshaded precursor to "I Believe We Can", and "The Elf Police", which was cut from the Holiday Favorites CD.
My Little Pony: Friendship Is Magic had a full version of Pinkie Pie's "Hop, Skip and a Jump" advice from "Dragonshy", which was shortened for time. There was also the 'original' Cutie Mark Crusaders theme tune, which apparently wasn't deemed bad enough. The composer was so traumatised by having to mutilate his baby that unlike "Hop, Skip and a Jump", it has never been released to fans.
Pinkie's "Piggy Song" was originally a parody of "The Chicken Dance," with more or less the same lyrics as the final song (phrased a bit differently) and an unused bridge verse. The version that was actually used bares no resemblance to "The Chicken Dance," but manages to be equally ridiculous.