10 Great Action/Adventure Cartoon Theme Songs

 There have been a lot of really catchy cartoon theme songs over the decades. Here are ten from American action/adventure cartoons (that call is debatable, but I wanted to exclude strictly comedic ones like The Flintstones, for example) that I think one could make a good case for being among the best. Here they are in chronological order.

Jonny Quest (1964)
Trey: This fast-paced, Space Age jazzy number composed by Hoyt Curtin really says action and speaks strongly of the era when it was recorded. According to Curtin in a 1999 interview, the band used for the sessions was a jazz ensemble with four trumpets, six trombones, five woodwind doublers, and a five-man rhythm section including percussion. It stands among the greatest theme songs of all time, period. 

Jason: I agree completely, but I must confess I can only regard this banger (and everything before 1985 on this list) through an obscuring mist of nostalgia. Coupled with the attractively Alex Toth-designed highlight reel of explosive violence and weird mystery, this complex, hyper-condensed piece of music captured my tiny heart from the first bongo beats. How could any TV cartoon series live up to the high bar set in this opening sequence? When I saw the show, it was many years in syndication, and the contrast with the then-current Saturday morning fare was profound. Even the theme music was more grown up!  

Spider-Man (1967)

Trey: Like the next one on my list, this catchy tune has escaped from the realm of cartoon themes into pop culture in general, being covered many times and even appearing in-universe in Spider-Man films. It was written by lyricist Paul Francis Webster and composer Bob Harris. The music was recorded at RCA Studios, New Yorks, and the vocals at RCA Studios in Toronto (where the cartoon was produced) featuring 12 CBC vocalists (members of the Billy Van Singers, and Laurie Bower Singers groups).

Jason: Here again, I regard this one as immortal and, in any honest evaluation, rank it among my favorite songs of all time by several entirely subjective criteria.  The Ramones version remains my top cover version while the Michael Bublé cover stands unchallenged as my top Michael Bublé song of all time. 

Scooby-Doo, Where Are You! (1969)

Trey: This bubble-gum pop earworm was written by David Mook and Ben Raleigh, and originally performed by Larry Marks. It's probably the most covered theme on this list.

Jason: It's a perfect piece of pop, quintessentially of its era, and ranks up there aesthetically with any "Sugar Sugar" or "Yummy Yummy Yummy" you'd care to name.  

Super-Friends (1973)

Trey: Another one from Hoyt Curtin, this is a more of a rousing, martial piece. The producers must have known they struck gold, because they kept it for 13 years, changes to narration aside. It is certainly eminently recognizable. I like this remix for a Cartoon Network promo by Michael Kohler, "The Time is Now."

Jason: A stately call to arms for the forces of good!  This type of instrumental-only action show theme song, often characterized by blaring brass sections and delivered with Wagnerian exuberance, practically constitutes a genre unto itself and dates back to the Fleischer Studios Superman shorts from the 1940s.

Hong Kong Phooey (1974)

Trey: In the early 70s, America was in the midst of a "kung fu craze," this show and theme rides that wave. It's short of funky, but also recalls the cliched "Oriental riff" and perhaps borrows a bit of inspiration from Schifrin's theme for Enter the Dragon. Scatman Crothers who voices the main character also sings here.

Jason: That this song is diabolically catchy, I cannot deny. It has stuck with me through long decades during which I neither sought out nor otherwise encountered the source material. 

MASK (1985)

Trey: This theme is a pure slice of the 80s and credited to the duo that dominated the era, Shuki Levy and Haim Saban. Levy's got a page devoted to his theme work, here.

Jason: MASK marks the spot on the timeline after which I will no longer be buoyed by any shred of nostalgia, having ascended to the snottiest and most dismissive epoch in my extended adolescence. I don't recall ever having heard this before, but I am immediately struck by the Flashdance-adjacent aesthetic.  

SilverHawks (1986)

Trey: SilverHawks may be a lazy attempt to iterate another hit from the ThunderCats template (see also TigerSharks), but I think it's got a superior theme song to the original. It was composed by Bernard Hoffer who did a lot of work for Rankin-Bass but was nominated for an Emmy for composing the theme used in the PBS News Hour (originally The MacNeil-Lehrer Report).

Jason: The haunting refrain of the title elevates the pop appeal of this theme, while also delivering the first genuine guitar shredding (or is it synthesizer? Or, heaven forfend, keytar?) yet heard in this listing. This is another first listen for me, and the professional craftsmanship is again evident. It's almost like there's a few surefire formulae in this theme song game.

X-Men (1992)

Trey: This iconic instrumental song with a futuristic (in now a very dated way) vibe was credited (as so many 80s and 90s cartoon theme songs were) to Haim Saban and Shuki Levy, but was written by Ron Wasserman who was under contract to Saban at the time. Wasserman says of the composition and recording in a 2022 interview: "I’d learned to play or emulate any instrument so I would have played every part. Just me, a MIDI keyboard, and a computer."

Jason: So iconic I know it, though I don't think I've watched a full episode of this series. While I am enjoying listening through this listing, maybe I'm starting to develop cartoon theme song fatigue at this point. Do I hear a bit of Miami Vice in this ditty, or have I taken leave of my senses?

Teen Titans (2003)

Trey: This was a well-written series with perhaps a deceptively cartoony look. The great power poppish theme song was written and performed by Japanese pop rock duo, Puffy AmiYumi.

Jason: This one I enjoy without resorting to ironic detachment or nostalgia of any kind. There's more than a small debt to Johnny Rivers' "Secret Agent Man," but it's so dang catchy all is forgiven. 

Spidey And His Amazing Friends (2021)

Trey: My daughter loved this show when she was younger, and still revisits it's occasionally. It has a very catchy theme written and performed by Patrick Stump, who Wikipedia tells me is lead vocalist and rhythm guitarist of Fall Out Boy.

Jason: Stump correctly ascertained that a Spidey theme needs to be propulsive enough to communicate the frantic action that will (presumably) follow. It's as good as any post-Fallout Boy emo tune I can currently recall (don't ask how many). Still, good stuff for the kids. Did your daughter enjoy the theme?

Trey: She did and still does!

The Fargo Series by John Benteen

Over the summer, I decided to check out the men's adventure paperback series Fargo by John Benteen after discovering it was cheap on Kindle. I became aware of the series thanks to the upcoming graphic novel adaptation, Fargo: Hell on Wheels, by Howard Chaykin.

Amazon bills the series as a Westerns, and I suppose some of them are, in the same way The Professionals (1966) or Fist Full of Dynamite (aka Duck You Sucker) (1972) or other adventure films in Western locales are considered Westerns. They take place in the early 20th Century (1912-1915 in the ones I've read so far) and involve imagery and action out of Westerns (tough men in wild country on horseback with guns), but they involve a range of locales more again to traditional adventure pulp. They range to the jungles of the Philippines and Panama, as well as the more traditional Mexican desert or Yukon.

I've read reviews that refer to Fargo as sort of a "Western Conan." I can see what they mean in that Fargo is tough as hell, irresistible to women (apparently due to sheer manliness, as he is described as unhandsome and hardly has a scintillating personality), and good at most everything in his warrior and outdoorsman purview. However, Benteen's attention to detail regarding gear and preparation for obstacles his hero faces, and his penchant for pitting Fargo against enemies that appear to be a match for him, serve to make the series feel more grounded and realistic. Only slightly pulpy instead of completely so.

Benteen's prose is lean in the mid-Century way, not pulp purple. His action and dialog are punchy and mostly effective but without any lyricism or descriptive vistas despite their natural locales. Unfortunately, but expected given their genre and when they were written, they carry a streak of misogyny, some of the volumes moreso that others. There is some cultural and racial insensitivity lurking in their too, but in the volumes, I have read the narrative is generally not unsympathetic to both Native Americans and Latinos, though Fargo does exhibit some ill-feeling toward the Moro, who he fought in the Philippines.

They're all quick reads (under 200 pages) and fast-paced. So far I've read:

• Fargo (vol 1): Set in 1914 during the Mexican Revolution, Fargo is hired to rescue an engineer (and his mine's haul of silver) from deep inside that war torn and escape bandits with revolutionary pretensions.
• Panama Gold (vol 2): A prequel set in 1912. Fargo is asked by Teddy Roosevelt himself to investigate and thwart an attempt to foreign powers to use a mercenary army to sabotage the nearly completed Panama Canal.
• Alaska Steel (vol 3) In 1914, Fargo is hired by a movie starlet to find her wayward husband so he can claim his oil money inheritance. The problem is, he's disappeared in the Yukon where he was seeking his fortune as a prospector.
• Apache Raiders (vol 4) Fargo is back in Mexico in 1915, smuggling guns for Pancho Villa. He encounters a "lost" tribe of Apaches (a group that never got sent off to Florida) whose leader is playing a general Indian uprising.
• Massacre River (vol 5) Perhaps the pulpiest of the one's I have read, Fargo is in the Philippines on a job to escort the daughter of a Chinese businessman to her arranged marriage. If Filipino insurgents weren't enough trouble, there is a family of wealthy, Confederate Lost Cause holdouts, looking to create a new empire and kicking the U.S. out.