Songs like End Titles (Nobody Does It Better) by Marvin Hamlisch
Based on a tempo of (+/- 10%) and a similar genre
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Irving Berlin
There's No Business Like Show Business
135 bpm • C# Maj • 03:11 • -11.93db
13% Popularity • 67% Danceability • 29% Energy • 20% Liveness
0% Instrumentalness • 68% Positiveness
13% Popularity • 67% Danceability • 29% Energy • 20% Liveness
0% Instrumentalness • 68% Positiveness
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Richard Harris
I Wonder What the King Is Doing Tonight ...
134 bpm • D# Maj • 02:08 • -15db
19% Popularity • 51% Danceability • 44% Energy • 34% Liveness
0% Instrumentalness • 59% Positiveness
19% Popularity • 51% Danceability • 44% Energy • 34% Liveness
0% Instrumentalness • 59% Positiveness
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Hans Zimmer
Driving
135 bpm • C Maj • 06:51 • -19.82db
24% Popularity • 37% Danceability • 11% Energy • 9% Liveness
83% Instrumentalness • 4% Positiveness
24% Popularity • 37% Danceability • 11% Energy • 9% Liveness
83% Instrumentalness • 4% Positiveness
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Anne Dudley
Nagasaki
134 bpm • A# Maj • 02:56 • -13db
18% Popularity • 73% Danceability • 40% Energy • 22% Liveness
0% Instrumentalness • 96% Positiveness
18% Popularity • 73% Danceability • 40% Energy • 22% Liveness
0% Instrumentalness • 96% Positiveness
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Al Jolson
Toot, Toot, Tootsie! (Goo'bye)
134 bpm • G# Maj • 02:10 • -7.59db
19% Popularity • 60% Danceability • 60% Energy • 38% Liveness
14% Instrumentalness • 92% Positiveness
19% Popularity • 60% Danceability • 60% Energy • 38% Liveness
14% Instrumentalness • 92% Positiveness
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Leigh Harline
Harline: Pops Salutes The Oscars
136 bpm • F min • 10:50 • -21.99db
10% Popularity • 20% Danceability • 9% Energy • 7% Liveness
61% Instrumentalness • 7% Positiveness
10% Popularity • 20% Danceability • 9% Energy • 7% Liveness
61% Instrumentalness • 7% Positiveness
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Irving Berlin
There's No Business Like Show Business
136 bpm • G# Maj • 02:31 • -8.57db
24% Popularity • 54% Danceability • 52% Energy • 14% Liveness
0% Instrumentalness • 67% Positiveness
24% Popularity • 54% Danceability • 52% Energy • 14% Liveness
0% Instrumentalness • 67% Positiveness
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Vanessa Redgrave
I Loved You Once in Silence - Guenevere ...
134 bpm • D Maj • 02:57 • -26.72db
19% Popularity • 33% Danceability • 4% Energy • 11% Liveness
0% Instrumentalness • 28% Positiveness
19% Popularity • 33% Danceability • 4% Energy • 11% Liveness
0% Instrumentalness • 28% Positiveness
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George Fenton
The Ice Sculpture
137 bpm • G# Maj • 02:04 • -14db
20% Popularity • 22% Danceability • 23% Energy • 26% Liveness
92% Instrumentalness • 8% Positiveness
20% Popularity • 22% Danceability • 23% Energy • 26% Liveness
92% Instrumentalness • 8% Positiveness
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Joel Grey
Give My Regards to Broadway
137 bpm • C Maj • 03:37 • -8db
20% Popularity • 45% Danceability • 54% Energy • 30% Liveness
0% Instrumentalness • 40% Positiveness
20% Popularity • 45% Danceability • 54% Energy • 30% Liveness
0% Instrumentalness • 40% Positiveness
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George Formby
Leaning on a Lamp Post
137 bpm • C Maj • 03:02 • -14.85db
28% Popularity • 71% Danceability • 28% Energy • 6% Liveness
0% Instrumentalness • 69% Positiveness
28% Popularity • 71% Danceability • 28% Energy • 6% Liveness
0% Instrumentalness • 69% Positiveness
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Marvin Hamlisch
One (Reprise) / Finale
133 bpm • D# Maj • 05:04 • -8.99db
27% Popularity • 56% Danceability • 46% Energy • 12% Liveness
0% Instrumentalness • 46% Positiveness
27% Popularity • 56% Danceability • 46% Energy • 12% Liveness
0% Instrumentalness • 46% Positiveness
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Al Jolson
Swanee
133 bpm • D Maj • 01:55 • -7.1db
17% Popularity • 50% Danceability • 74% Energy • 68% Liveness
0% Instrumentalness • 81% Positiveness
17% Popularity • 50% Danceability • 74% Energy • 68% Liveness
0% Instrumentalness • 81% Positiveness
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Richard Harris
Finale Ultimo
137 bpm • D# Maj • 02:39 • -15.13db
18% Popularity • 34% Danceability • 20% Energy • 19% Liveness
0% Instrumentalness • 37% Positiveness
18% Popularity • 34% Danceability • 20% Energy • 19% Liveness
0% Instrumentalness • 37% Positiveness
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Frederick Loewe
Camelot: I Wonder What the King Is Doing...
133 bpm • D# Maj • 02:01 • -15db
26% Popularity • 64% Danceability • 33% Energy • 14% Liveness
0% Instrumentalness • 82% Positiveness
26% Popularity • 64% Danceability • 33% Energy • 14% Liveness
0% Instrumentalness • 82% Positiveness
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Herb Alpert
Casino Royale Theme
137 bpm • D Maj • 02:36 • -13db
40% Popularity • 69% Danceability • 48% Energy • 8% Liveness
72% Instrumentalness • 89% Positiveness
40% Popularity • 69% Danceability • 48% Energy • 8% Liveness
72% Instrumentalness • 89% Positiveness
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The Laurie Johnson Orchestra
Theme from ''The Avengers''
137 bpm • D min • 02:19 • -7.6db
26% Popularity • 31% Danceability • 65% Energy • 16% Liveness
70% Instrumentalness • 59% Positiveness
26% Popularity • 31% Danceability • 65% Energy • 16% Liveness
70% Instrumentalness • 59% Positiveness
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Hayden Tee
Walking in the Sunshine
138 bpm • G Maj • 03:27 • -9.84db
1% Popularity • 59% Danceability • 34% Energy • 17% Liveness
0% Instrumentalness • 64% Positiveness
1% Popularity • 59% Danceability • 34% Energy • 17% Liveness
0% Instrumentalness • 64% Positiveness
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Doris Day
Secret Love
132 bpm • B Maj • 03:39 • -12.09db
36% Popularity • 28% Danceability • 18% Energy • 11% Liveness
0% Instrumentalness • 22% Positiveness
36% Popularity • 28% Danceability • 18% Energy • 11% Liveness
0% Instrumentalness • 22% Positiveness
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A Chorus Line Ensemble
One
132 bpm • D# Maj • 05:00 • -12.87db
11% Popularity • 59% Danceability • 35% Energy • 41% Liveness
0% Instrumentalness • 48% Positiveness
11% Popularity • 59% Danceability • 35% Energy • 41% Liveness
0% Instrumentalness • 48% Positiveness
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Frank Mills
Music Box Dancer
132 bpm • C# Maj • 03:12 • -13.76db
47% Popularity • 47% Danceability • 47% Energy • 12% Liveness
82% Instrumentalness • 79% Positiveness
47% Popularity • 47% Danceability • 47% Energy • 12% Liveness
82% Instrumentalness • 79% Positiveness
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Ben Vereen
Superstar
138 bpm • A Maj • 04:00 • -9.2db
14% Popularity • 39% Danceability • 67% Energy • 63% Liveness
0% Instrumentalness • 60% Positiveness
14% Popularity • 39% Danceability • 67% Energy • 63% Liveness
0% Instrumentalness • 60% Positiveness
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Paragon Ragtime Orchestra, Rick Benjamin
In The Hills Of Old Kentucky Medley
132 bpm • C Maj • 02:39 • -11db
26% Popularity • 69% Danceability • 47% Energy • 6% Liveness
10% Instrumentalness • 93% Positiveness
26% Popularity • 69% Danceability • 47% Energy • 6% Liveness
10% Instrumentalness • 93% Positiveness
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Craig Carnelia
A Smoke, a Drink and You
132 bpm • B Maj • 07:14 • -10.89db
0% Popularity • 61% Danceability • 32% Energy • 11% Liveness
0% Instrumentalness • 51% Positiveness
0% Popularity • 61% Danceability • 32% Energy • 11% Liveness
0% Instrumentalness • 51% Positiveness
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Emile De Becque
This Nearly Was Mine
138 bpm • C Maj • 02:09 • -13.76db
27% Popularity • 23% Danceability • 26% Energy • 16% Liveness
95% Instrumentalness • 4% Positiveness
27% Popularity • 23% Danceability • 26% Energy • 16% Liveness
95% Instrumentalness • 4% Positiveness
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James Horner
The Boys Are Out
139 bpm • F Maj • 02:39 • -13.7db
8% Popularity • 58% Danceability • 28% Energy • 16% Liveness
8% Instrumentalness • 50% Positiveness
8% Popularity • 58% Danceability • 28% Energy • 16% Liveness
8% Instrumentalness • 50% Positiveness
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Ivor Novello
The Dancing Years - Musical play in 3 ac...
131 bpm • F Maj • 02:33 • -22db
18% Popularity • 42% Danceability • 5% Energy • 10% Liveness
0% Instrumentalness • 17% Positiveness
18% Popularity • 42% Danceability • 5% Energy • 10% Liveness
0% Instrumentalness • 17% Positiveness
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Desi Arnaz
I Love Lucy
131 bpm • C# Maj • 01:53 • -11db
22% Popularity • 71% Danceability • 35% Energy • 10% Liveness
0% Instrumentalness • 68% Positiveness
22% Popularity • 71% Danceability • 35% Energy • 10% Liveness
0% Instrumentalness • 68% Positiveness
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Franz Waxman
Main Title (Film Version With Effects)
131 bpm • A min • 02:14 • -10db
16% Popularity • 36% Danceability • 48% Energy • 24% Liveness
90% Instrumentalness • 22% Positiveness
16% Popularity • 36% Danceability • 48% Energy • 24% Liveness
90% Instrumentalness • 22% Positiveness
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Annette & Tommy Sands
The Parent Trap
139 bpm • G# Maj • 02:17 • -10.63db
12% Popularity • 63% Danceability • 46% Energy • 20% Liveness
0% Instrumentalness • 83% Positiveness
12% Popularity • 63% Danceability • 46% Energy • 20% Liveness
0% Instrumentalness • 83% Positiveness
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Vanessa Redgrave
Take Me to the Fair - Guenevere and the ...
139 bpm • F# Maj • 04:58 • -16.78db
15% Popularity • 50% Danceability • 30% Energy • 30% Liveness
0% Instrumentalness • 56% Positiveness
15% Popularity • 50% Danceability • 30% Energy • 30% Liveness
0% Instrumentalness • 56% Positiveness
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Malcolm Ball
The Way We Were
139 bpm • A Maj • 03:05 • -17.19db
4% Popularity • 34% Danceability • 14% Energy • 10% Liveness
90% Instrumentalness • 15% Positiveness
4% Popularity • 34% Danceability • 14% Energy • 10% Liveness
90% Instrumentalness • 15% Positiveness
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A Chorus Line Ensemble
One (Finale)
131 bpm • D# Maj • 03:54 • -12.73db
31% Popularity • 65% Danceability • 50% Energy • 8% Liveness
0% Instrumentalness • 46% Positiveness
31% Popularity • 65% Danceability • 50% Energy • 8% Liveness
0% Instrumentalness • 46% Positiveness
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James Cagney & Frances Langford
Over There
131 bpm • E Maj • 03:26 • -10db
4% Popularity • 58% Danceability • 56% Energy • 17% Liveness
0% Instrumentalness • 70% Positiveness
4% Popularity • 58% Danceability • 56% Energy • 17% Liveness
0% Instrumentalness • 70% Positiveness
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Cy Coleman
Sweet Charity: Overture
139 bpm • F Maj • 03:29 • -11.05db
18% Popularity • 34% Danceability • 48% Energy • 27% Liveness
91% Instrumentalness • 53% Positiveness
18% Popularity • 34% Danceability • 48% Energy • 27% Liveness
91% Instrumentalness • 53% Positiveness
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Ken Darby Male Chorus
There Is Nothin' Like A Dame
131 bpm • G Maj • 03:48 • -15.77db
28% Popularity • 62% Danceability • 29% Energy • 28% Liveness
0% Instrumentalness • 59% Positiveness
28% Popularity • 62% Danceability • 29% Energy • 28% Liveness
0% Instrumentalness • 59% Positiveness
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Michael Gore
Fame - Instrumental Version
130 bpm • G min • 05:21 • -10.24db
25% Popularity • 74% Danceability • 70% Energy • 5% Liveness
0% Instrumentalness • 91% Positiveness
25% Popularity • 74% Danceability • 70% Energy • 5% Liveness
0% Instrumentalness • 91% Positiveness
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Al Jolson
Swanee
131 bpm • D Maj • 02:00 • -11.22db
10% Popularity • 61% Danceability • 48% Energy • 8% Liveness
0% Instrumentalness • 73% Positiveness
10% Popularity • 61% Danceability • 48% Energy • 8% Liveness
0% Instrumentalness • 73% Positiveness
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Petula Clark, Don Francks & Fred Astaire
Look to the Rainbow
140 bpm • G# Maj • 03:03 • -14db
14% Popularity • 46% Danceability • 23% Energy • 10% Liveness
0% Instrumentalness • 57% Positiveness
14% Popularity • 46% Danceability • 23% Energy • 10% Liveness
0% Instrumentalness • 57% Positiveness
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Mount Royal Orchestra
The Odd Couple Theme Song
130 bpm • F min • 01:17 • -5.45db
27% Popularity • 64% Danceability • 52% Energy • 5% Liveness
76% Instrumentalness • 96% Positiveness
27% Popularity • 64% Danceability • 52% Energy • 5% Liveness
76% Instrumentalness • 96% Positiveness
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Betty Noyes
Would You?
140 bpm • G# Maj • 02:59 • -13db
32% Popularity • 27% Danceability • 18% Energy • 16% Liveness
0% Instrumentalness • 19% Positiveness
32% Popularity • 27% Danceability • 18% Energy • 16% Liveness
0% Instrumentalness • 19% Positiveness
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Groucho Marx
Hooray For Captain Spaulding
140 bpm • C Maj • 03:11 • -12.61db
8% Popularity • 68% Danceability • 33% Energy • 9% Liveness
0% Instrumentalness • 62% Positiveness
8% Popularity • 68% Danceability • 33% Energy • 9% Liveness
0% Instrumentalness • 62% Positiveness
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Carole Bayer Sager
Theme from Ice Castles
140 bpm • C min • 03:14 • -8db
1% Popularity • 50% Danceability • 42% Energy • 12% Liveness
0% Instrumentalness • 18% Positiveness
1% Popularity • 50% Danceability • 42% Energy • 12% Liveness
0% Instrumentalness • 18% Positiveness
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Richard Rogers
Rogers: Oklahoma!: Oklahoma
140 bpm • D Maj • 03:12 • -16.09db
11% Popularity • 54% Danceability • 27% Energy • 22% Liveness
0% Instrumentalness • 73% Positiveness
11% Popularity • 54% Danceability • 27% Energy • 22% Liveness
0% Instrumentalness • 73% Positiveness
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Lt. Cable
Carefully Taught
141 bpm • E Maj • 01:13 • -13.95db
27% Popularity • 54% Danceability • 22% Energy • 33% Liveness
0% Instrumentalness • 63% Positiveness
27% Popularity • 54% Danceability • 22% Energy • 33% Liveness
0% Instrumentalness • 63% Positiveness
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Marilyn Monroe (performer)
I Wanna Be Loved By You
130 bpm • F Maj • 02:56 • -12db
22% Popularity • 48% Danceability • 34% Energy • 8% Liveness
5% Instrumentalness • 58% Positiveness
22% Popularity • 48% Danceability • 34% Energy • 8% Liveness
5% Instrumentalness • 58% Positiveness
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Victor Young
Around the World – Part I
130 bpm • D# Maj • 02:58 • -15.1db
14% Popularity • 23% Danceability • 31% Energy • 14% Liveness
93% Instrumentalness • 28% Positiveness
14% Popularity • 23% Danceability • 31% Energy • 14% Liveness
93% Instrumentalness • 28% Positiveness
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St. Petersburg Orchestra Harmony
Macarthur Park
130 bpm • E min • 07:42 • -10db
18% Popularity • 22% Danceability • 56% Energy • 40% Liveness
94% Instrumentalness • 20% Positiveness
18% Popularity • 22% Danceability • 56% Energy • 40% Liveness
94% Instrumentalness • 20% Positiveness
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Marvin Hamlisch
One (Bonus Track)
141 bpm • A# Maj • 04:11 • -11.31db
9% Popularity • 58% Danceability • 24% Energy • 9% Liveness
0% Instrumentalness • 42% Positiveness
9% Popularity • 58% Danceability • 24% Energy • 9% Liveness
0% Instrumentalness • 42% Positiveness
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Johnny Pearson
Country Fayre - 60 Second Edit
129 bpm • C Maj • 01:03 • -18db
32% Popularity • 60% Danceability • 21% Energy • 13% Liveness
91% Instrumentalness • 91% Positiveness
32% Popularity • 60% Danceability • 21% Energy • 13% Liveness
91% Instrumentalness • 91% Positiveness
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Danny Kaye
Outfox The Fox
141 bpm • F Maj • 02:50 • -7.78db
21% Popularity • 56% Danceability • 69% Energy • 41% Liveness
0% Instrumentalness • 79% Positiveness
21% Popularity • 56% Danceability • 69% Energy • 41% Liveness
0% Instrumentalness • 79% Positiveness
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Juan Areco
What I Did for Love
141 bpm • C Maj • 04:40 • -6.52db
2% Popularity • 57% Danceability • 68% Energy • 12% Liveness
92% Instrumentalness • 74% Positiveness
2% Popularity • 57% Danceability • 68% Energy • 12% Liveness
92% Instrumentalness • 74% Positiveness
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Daisy Carnelia
Six O'clock News
129 bpm • G Maj • 02:54 • -10.24db
1% Popularity • 56% Danceability • 19% Energy • 12% Liveness
0% Instrumentalness • 40% Positiveness
1% Popularity • 56% Danceability • 19% Energy • 12% Liveness
0% Instrumentalness • 40% Positiveness
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Bobby Troup and his Trio
That Darn Cat
129 bpm • G# min • 02:46 • -15.74db
11% Popularity • 80% Danceability • 24% Energy • 10% Liveness
0% Instrumentalness • 59% Positiveness
11% Popularity • 80% Danceability • 24% Energy • 10% Liveness
0% Instrumentalness • 59% Positiveness
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Louis Armstrong
High Society Calypso
141 bpm • D# Maj • 02:04 • -14.38db
15% Popularity • 75% Danceability • 42% Energy • 18% Liveness
0% Instrumentalness • 62% Positiveness
15% Popularity • 75% Danceability • 42% Energy • 18% Liveness
0% Instrumentalness • 62% Positiveness
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South Pacific 1988 London Cast Recording Male Ensemble
There Is Nothing Like A Dame
141 bpm • E Maj • 03:39 • -17.6db
14% Popularity • 63% Danceability • 19% Energy • 17% Liveness
0% Instrumentalness • 59% Positiveness
14% Popularity • 63% Danceability • 19% Energy • 17% Liveness
0% Instrumentalness • 59% Positiveness
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Cole Porter
Cole Porter: Stereophonic Sound
129 bpm • F# Maj • 04:06 • -9.66db
8% Popularity • 55% Danceability • 58% Energy • 34% Liveness
0% Instrumentalness • 74% Positiveness
8% Popularity • 55% Danceability • 58% Energy • 34% Liveness
0% Instrumentalness • 74% Positiveness
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Ken Darby Male Chorus
Bloody Mary
129 bpm • D# Maj • 01:54 • -10.37db
27% Popularity • 79% Danceability • 56% Energy • 22% Liveness
0% Instrumentalness • 97% Positiveness
27% Popularity • 79% Danceability • 56% Energy • 22% Liveness
0% Instrumentalness • 97% Positiveness
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Craig Carnelia
I Would but I Can't
141 bpm • A# Maj • 02:27 • -10db
1% Popularity • 69% Danceability • 32% Energy • 24% Liveness
0% Instrumentalness • 54% Positiveness
1% Popularity • 69% Danceability • 32% Energy • 24% Liveness
0% Instrumentalness • 54% Positiveness
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Daniel Caine Orchestra
Barnaby Jones
128 bpm • F Maj • 02:16 • -11.97db
8% Popularity • 35% Danceability • 48% Energy • 8% Liveness
90% Instrumentalness • 54% Positiveness
8% Popularity • 35% Danceability • 48% Energy • 8% Liveness
90% Instrumentalness • 54% Positiveness
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Robert Preston
Seventy Six Trombones / Goodnight My Som...
128 bpm • C Maj • 01:30 • -12.88db
32% Popularity • 38% Danceability • 20% Energy • 50% Liveness
0% Instrumentalness • 23% Positiveness
32% Popularity • 38% Danceability • 20% Energy • 50% Liveness
0% Instrumentalness • 23% Positiveness
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George Martin
The Bond Suite
128 bpm • C Maj • 08:37 • -11.86db
18% Popularity • 34% Danceability • 42% Energy • 34% Liveness
86% Instrumentalness • 16% Positiveness
18% Popularity • 34% Danceability • 42% Energy • 34% Liveness
86% Instrumentalness • 16% Positiveness
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Zero Mostel
If I Were a Rich Man
142 bpm • C# Maj • 04:55 • -19.7db
28% Popularity • 54% Danceability • 19% Energy • 18% Liveness
0% Instrumentalness • 54% Positiveness
28% Popularity • 54% Danceability • 19% Energy • 18% Liveness
0% Instrumentalness • 54% Positiveness
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John Barry Orchestra
James Bond Theme
142 bpm • G Maj • 01:50 • -10.56db
47% Popularity • 39% Danceability • 63% Energy • 22% Liveness
13% Instrumentalness • 12% Positiveness
47% Popularity • 39% Danceability • 63% Energy • 22% Liveness
13% Instrumentalness • 12% Positiveness
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Frederick Loewe
My Fair Lady: A Hymn to Him
142 bpm • G Maj • 03:15 • -14.09db
10% Popularity • 58% Danceability • 46% Energy • 36% Liveness
0% Instrumentalness • 62% Positiveness
10% Popularity • 58% Danceability • 46% Energy • 36% Liveness
0% Instrumentalness • 62% Positiveness
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Charmian Carr
Sixteen Going On Seventeen
128 bpm • G# Maj • 03:20 • -15.87db
51% Popularity • 49% Danceability • 13% Energy • 6% Liveness
0% Instrumentalness • 29% Positiveness
51% Popularity • 49% Danceability • 13% Energy • 6% Liveness
0% Instrumentalness • 29% Positiveness
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Van Johnson
I'll Go Home with Bonnie Jean
128 bpm • G Maj • 02:52 • -12.23db
13% Popularity • 47% Danceability • 39% Energy • 20% Liveness
0% Instrumentalness • 59% Positiveness
13% Popularity • 47% Danceability • 39% Energy • 20% Liveness
0% Instrumentalness • 59% Positiveness
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Randy Newman
Delmonico Polka - Soundtrack Version
127 bpm • G Maj • 01:02 • -12.83db
28% Popularity • 69% Danceability • 40% Energy • 14% Liveness
94% Instrumentalness • 96% Positiveness
28% Popularity • 69% Danceability • 40% Energy • 14% Liveness
94% Instrumentalness • 96% Positiveness
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Orchester Ambros Seelos
A Man And A Woman (Un Homme et une Femme...
143 bpm • F# min • 03:11 • -19db
27% Popularity • 50% Danceability • 18% Energy • 14% Liveness
0% Instrumentalness • 34% Positiveness
27% Popularity • 50% Danceability • 18% Energy • 14% Liveness
0% Instrumentalness • 34% Positiveness
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Danny Kaye
Everything Is Ticketty-Boo
127 bpm • A Maj • 02:11 • -7.62db
14% Popularity • 78% Danceability • 63% Energy • 67% Liveness
0% Instrumentalness • 70% Positiveness
14% Popularity • 78% Danceability • 63% Energy • 67% Liveness
0% Instrumentalness • 70% Positiveness
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South Pacific Orchestra (2008)
Overture
143 bpm • G# Maj • 05:40 • -19.96db
19% Popularity • 26% Danceability • 10% Energy • 34% Liveness
93% Instrumentalness • 13% Positiveness
19% Popularity • 26% Danceability • 10% Energy • 34% Liveness
93% Instrumentalness • 13% Positiveness
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Dick Hyman
Mr. Moon
127 bpm • C Maj • 00:58 • -10.96db
28% Popularity • 78% Danceability • 38% Energy • 8% Liveness
0% Instrumentalness • 97% Positiveness
28% Popularity • 78% Danceability • 38% Energy • 8% Liveness
0% Instrumentalness • 97% Positiveness
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Holly Davis
Imaginary Friend
144 bpm • G min • 03:32 • -7db
0% Popularity • 70% Danceability • 30% Energy • 17% Liveness
0% Instrumentalness • 66% Positiveness
0% Popularity • 70% Danceability • 30% Energy • 17% Liveness
0% Instrumentalness • 66% Positiveness
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The Orchestra Of 'Mack & Mabel'
Mack and Mabel Overture
144 bpm • C Maj • 04:58 • -13db
8% Popularity • 38% Danceability • 30% Energy • 12% Liveness
96% Instrumentalness • 42% Positiveness
8% Popularity • 38% Danceability • 30% Energy • 12% Liveness
96% Instrumentalness • 42% Positiveness
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Melora Hardin
When Your Lover Has Gone - 2020 Remaster
127 bpm • G min • 03:30 • -17.96db
10% Popularity • 46% Danceability • 15% Energy • 9% Liveness
1% Instrumentalness • 28% Positiveness
10% Popularity • 46% Danceability • 15% Energy • 9% Liveness
1% Instrumentalness • 28% Positiveness
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A Chorus Line Ensemble
One (Rehearsal)
144 bpm • G# Maj • 03:41 • -14db
19% Popularity • 69% Danceability • 30% Energy • 14% Liveness
0% Instrumentalness • 36% Positiveness
19% Popularity • 69% Danceability • 30% Energy • 14% Liveness
0% Instrumentalness • 36% Positiveness
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Ann Miller
From This Moment On
144 bpm • D# min • 03:49 • -11db
13% Popularity • 43% Danceability • 35% Energy • 21% Liveness
0% Instrumentalness • 38% Positiveness
13% Popularity • 43% Danceability • 35% Energy • 21% Liveness
0% Instrumentalness • 38% Positiveness
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Neal Hefti
The Odd Couple Main Title
126 bpm • F min • 01:40 • -14.37db
31% Popularity • 68% Danceability • 34% Energy • 18% Liveness
23% Instrumentalness • 65% Positiveness
31% Popularity • 68% Danceability • 34% Energy • 18% Liveness
23% Instrumentalness • 65% Positiveness
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Craig Carnelia
Smart Women
127 bpm • C Maj • 02:57 • -9.01db
0% Popularity • 51% Danceability • 30% Energy • 12% Liveness
0% Instrumentalness • 19% Positiveness
0% Popularity • 51% Danceability • 30% Energy • 12% Liveness
0% Instrumentalness • 19% Positiveness
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Paul Robeson
Ol' Man River - 1985 Digital Remaster
126 bpm • A# Maj • 03:54 • -14db
31% Popularity • 44% Danceability • 15% Energy • 14% Liveness
1% Instrumentalness • 47% Positiveness
31% Popularity • 44% Danceability • 15% Energy • 14% Liveness
1% Instrumentalness • 47% Positiveness
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Marvin Hamlisch
One
126 bpm • D# Maj • 04:46 • -11db
30% Popularity • 57% Danceability • 35% Energy • 7% Liveness
0% Instrumentalness • 24% Positiveness
30% Popularity • 57% Danceability • 35% Energy • 7% Liveness
0% Instrumentalness • 24% Positiveness
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Al Caiola
Bonanza
126 bpm • C Maj • 02:19 • -8.08db
38% Popularity • 48% Danceability • 70% Energy • 15% Liveness
38% Instrumentalness • 84% Positiveness
38% Popularity • 48% Danceability • 70% Energy • 15% Liveness
38% Instrumentalness • 84% Positiveness
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Bing Crosby
Well, Did You Evah?
145 bpm • D# Maj • 03:48 • -10.03db
10% Popularity • 48% Danceability • 32% Energy • 17% Liveness
0% Instrumentalness • 64% Positiveness
10% Popularity • 48% Danceability • 32% Energy • 17% Liveness
0% Instrumentalness • 64% Positiveness
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Victor Young
Around The World In 80 Days - Overture
126 bpm • D# Maj • 03:21 • -18.97db
22% Popularity • 25% Danceability • 16% Energy • 10% Liveness
96% Instrumentalness • 11% Positiveness
22% Popularity • 25% Danceability • 16% Energy • 10% Liveness
96% Instrumentalness • 11% Positiveness
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Anton Karas
The Third Man: The Third Man Theme (The ...
145 bpm • D Maj • 02:07 • -11.52db
30% Popularity • 50% Danceability • 52% Energy • 16% Liveness
75% Instrumentalness • 92% Positiveness
30% Popularity • 50% Danceability • 52% Energy • 16% Liveness
75% Instrumentalness • 92% Positiveness
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Doris Day
A Woman's Touch
126 bpm • C# Maj • 02:28 • -10.15db
27% Popularity • 80% Danceability • 28% Energy • 9% Liveness
0% Instrumentalness • 73% Positiveness
27% Popularity • 80% Danceability • 28% Energy • 9% Liveness
0% Instrumentalness • 73% Positiveness
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Marvin Hamlisch
Sing! (Bonus Track)
126 bpm • E Maj • 02:28 • -13.75db
7% Popularity • 73% Danceability • 27% Energy • 6% Liveness
0% Instrumentalness • 69% Positiveness
7% Popularity • 73% Danceability • 27% Energy • 6% Liveness
0% Instrumentalness • 69% Positiveness
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George M. Cohan
Yankee Doodle Boy ("Yankee Doodle Dandy"...
125 bpm • G Maj • 02:16 • -12.28db
10% Popularity • 40% Danceability • 96% Energy • 42% Liveness
71% Instrumentalness • 37% Positiveness
10% Popularity • 40% Danceability • 96% Energy • 42% Liveness
71% Instrumentalness • 37% Positiveness
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Frankie Yankovic And His Yanks
Pennsylvania Polka
125 bpm • F min • 02:26 • -13db
27% Popularity • 71% Danceability • 66% Energy • 94% Liveness
0% Instrumentalness • 77% Positiveness
27% Popularity • 71% Danceability • 66% Energy • 94% Liveness
0% Instrumentalness • 77% Positiveness
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Daniel Caine Orchestra
St. Elsewhere
125 bpm • F# Maj • 02:29 • -11.91db
15% Popularity • 71% Danceability • 41% Energy • 7% Liveness
45% Instrumentalness • 64% Positiveness
15% Popularity • 71% Danceability • 41% Energy • 7% Liveness
45% Instrumentalness • 64% Positiveness
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Bob Crane
Theme From Hogan's Heroes
125 bpm • F Maj • 02:24 • -13db
11% Popularity • 87% Danceability • 42% Energy • 9% Liveness
7% Instrumentalness • 97% Positiveness
11% Popularity • 87% Danceability • 42% Energy • 9% Liveness
7% Instrumentalness • 97% Positiveness
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The Andrews Sisters with Orchestra
Chattanooga Choo Choo
146 bpm • A# Maj • 02:52 • -13.61db
25% Popularity • 81% Danceability • 26% Energy • 11% Liveness
0% Instrumentalness • 72% Positiveness
25% Popularity • 81% Danceability • 26% Energy • 11% Liveness
0% Instrumentalness • 72% Positiveness
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Jerry Orbach
Try to Remember
125 bpm • F Maj • 02:48 • -15.54db
11% Popularity • 51% Danceability • 17% Energy • 9% Liveness
0% Instrumentalness • 34% Positiveness
11% Popularity • 51% Danceability • 17% Energy • 9% Liveness
0% Instrumentalness • 34% Positiveness
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Kuh Ledesma
The Way We Were
146 bpm • G# Maj • 03:26 • -6.9db
2% Popularity • 36% Danceability • 47% Energy • 9% Liveness
0% Instrumentalness • 43% Positiveness
2% Popularity • 36% Danceability • 47% Energy • 9% Liveness
0% Instrumentalness • 43% Positiveness
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Fiona Fullerton
Camelot
124 bpm • F Maj • 02:32 • -14db
17% Popularity • 55% Danceability • 24% Energy • 15% Liveness
0% Instrumentalness • 49% Positiveness
17% Popularity • 55% Danceability • 24% Energy • 15% Liveness
0% Instrumentalness • 49% Positiveness
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Vivian Ellis
Coronation Scot
147 bpm • G Maj • 03:01 • -28db
17% Popularity • 26% Danceability • 5% Energy • 7% Liveness
90% Instrumentalness • 16% Positiveness
17% Popularity • 26% Danceability • 5% Energy • 7% Liveness
90% Instrumentalness • 16% Positiveness
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Gwen Verdon
Whatever Lola Wants
147 bpm • A min • 03:14 • -15db
22% Popularity • 53% Danceability • 24% Energy • 6% Liveness
0% Instrumentalness • 35% Positiveness
22% Popularity • 53% Danceability • 24% Energy • 6% Liveness
0% Instrumentalness • 35% Positiveness
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Busby Berkeley
Where in the Money
124 bpm • G Maj • 02:36 • -10db
6% Popularity • 52% Danceability • 49% Energy • 61% Liveness
0% Instrumentalness • 89% Positiveness
6% Popularity • 52% Danceability • 49% Energy • 61% Liveness
0% Instrumentalness • 89% Positiveness
