Elvis may have the more popular version but nobody delivers ‘Hound Dog’ like the Mama; altering her inflections on every line she delivers by far the most captivating rendition. This was the first version, and inspired no less than six covers within a month of its release. On the heels of the Madonna EP came "Glee: The Music, Journey To Regionals," which included six songs from the season one finale. Released on the same day the episode aired, the album contains covers of three Journey songs, one Queen song, a Lulu song, and "Over the Rainbow" from the "The Wizard of Oz." Needless to say, fans were all over it. LA vocal group The Platters made their name with this – their second and biggest hit, a US No.1 and UK No.5. A showy and expansive number, ‘The Great Pretender’ inevitably found favour with Freddie Mercury who once more took it into the UK top 5 in 1987, out-camping The Platters no doubt but possibly not wringing out similar emotion.

A shimmering slice of 60s Britannica which honed in on a vision of the capital via the narrative grace of Ray Davies. Dave Davies’ lilting guitar chords corralled the tale of “ Terry and Julie” (Terence Stamp and Julie Christie) and future histories yet to be written with a waltz-like grace and a timeless charm. Everyone from Blur to The Libertines owes a reasonable debt to this slice of wistful British storytelling. Fun Home is a relatively new show on the musical theatre scene. Adapted by Jeanine Tesori and Lisa Kron from Alison Bechdel’s graphic novel of the same name, Fun Home was nominated for twelve 2015 Tony Awards, winning five including Best Musical. 99. Elisabeth Fresh from persuading Serge Gainsbourg not to release their version of ‘Je T’Aime…Moi Non Plus’, Brigitte Bardot again teamed up with the oily old goat to release this wonderfully louche, hypnotic (and occasionally tuneless) tribute to the gun-toting outlaw couple. It’s been covered by sometime Go-Go Belinda Carlisle and sampled by Kylie Minogue.Based on the counter-culture novel by Leopold von Sacher-Masoch, the VU’s tale of S&M curdled with its own bedraggled charm, thrusting forth with John Cale’s droning viola and Lou Reed’s dully ceremonial vocal. Gothic before “goth” existed. A cover of a Doris Day standard, Nat King Cole’s version was a creamy confection of dream-like music covered in swathes of layered strings, over which Cole’s velvet voice floated. It sounded like a puffy white cloud floating in the sky. No wonder it’s permanently associated with Christmas. You may not be familiar with all the entries on this list, but trust us: You’ll love them. Maybe they’ll introduce you to a new Broadwayshow to put on your list of must-sees. Maybe you’ll find one to add to your karaoke rotation. Either way, you’ll get an earful of tunes that are sure to stir your heart. Last week we asked you to vote for your favourite musical theatre numbers. After thousands of submissions, we've compiled your top 100 showtunes of all time below.

Decades after it was released, ‘Walkin’ After Midnight’ would be referred to as “David Lynch-esque”. The gossamer tones of Cline’s voice and honky tonk rhythms were paired with the creepy undercurrents of the lyrics, that suggested insomnia or even some sort of psychotic, night-time mania. It was a beautiful duality.Inspired in part by a guy’s precious love for his suede shoes over the girl he was dancing with, Perkins’ big hit went on to sell a million records in the first three months (no mean feat in ’55) and climb the country, rhythm and blues, and pop charts simultaneously. Not bad for a tune about footwear. Proclaimed as a watershed moment in musical theatre history, Show Boat (originally staged in 1927) with a score by Jerome Kern and lyrics by Oscar Hammerstein II, based on Edna Ferber’s novel, was the first time that the music worked together with the play driving the story, rather than being a review. It’s themes of racial prejudice and tragic enduring love and its score that included songs like Can’t Help Lovin’ Dat Man, Make Believe and Ol’Man River made it a hit that continues to entertain audiences today. Anything Goes" from Anything Goes. 42. "Don't Cry For Me Argentina" from Evita. 43 "Quiet" from Matilda. 44. "Raise You Up" from Kinky Boots. 45. "The Sound of Music" from The Sound of Music. 46. "You'll Never Walk Alone" from Carousel. 47. "A Weekend in the Country" from A Little Night Music. 48. "All That Jazz" from Chicago. 49. "Listen" from Dreamgirls. 50. "Do Re Mi" from Sound of Music. 51-60 Sam Cooke said ‘A Change Is Gonna Come’ came to him in a dream, but it was a natural product of the times too – in particular Martin Luther King’s “I have a dream” speech, delivered just a few months before Cooke recorded the song. Whether it inspired Cooke or not, ‘A Change Is Gonna Come’ is infused with the belief and determination of the civil rights movement. Habitually warring brothers Phil and Don regularly put aside their differences (or at least put them on ice for a couple of minutes) to record glorious close-harmony pop that influenced generations of bands from The Beatles to The Beach Boys to Simon & Garfunkel and beyond. With tremolo guitar from Chet Atkins, ‘All I Have To Do Is Dream’ is one of the decade’s more saccharine options, but proved how vital harmonies could be to a song’s DNA.

Everything's Coming Up Roses" from Gypsy. 52. "Ring of Keys" from Fun Home. 53. "For Forever" from Dear Evan Hansen. 54. "Friend Like Me" from Aladdin. 55. "Summertime" from Porgy and Bess. 56. "I Am What I Am" from La Cage Aux Folles. 57. "I Know Him So Well" from Chess. 58. "If I Loved You" from Carousel. 59. "La Vie Boheme" from Rent. 60. "Take Me Or Leave Me" from Rent. 61-70

Beggars Banquet’’s opener was Jagger and Richards at their finest; the former swiping bits of Baudelaire for a dance with the devil and the latter suggesting it be set to a samba rhythm. “ Please allow me to introduce myself / I’m a man of wealth and taste”. As invitations to the dancefloor go, they don’t come more compelling. The seventh "Fast and Furious" movie delivers no shortage of exotic locales, jaw-dropping action sequences, and explosive showdowns. The music is similarly guaranteed to get the adrenaline flowing, featuring a range of contemporary hip-hop and electronic dance music superstars like Flo Rida, David Guetta, Wiz Khalifa, and DJ Shadow. This one is a guaranteed party pleaser. Cry Me A River’ made its big screen debut in Jayne Mansfield’s The Girl Can’t Help It, with London performing it as the sultry, unattainable siren. It’s remarkable for its minimalist presentation, with London accompanied only by Barney Kessel on guitar and Ray Leatherwood on double bass. London’s cool, seductive vocal carries it. You can credit (or, occasionally, blame?) The Shirelles for the invention of the girl group. They would score their signature No.1 in 1960 with ‘Will You Still Love Me Tomorrow?’, but ‘I Met Him On A Sunday’ was the first single, a laconic, gorgeous doo-wop call and response that got them signed to Tiara before a Decca licensing deal sent them national. Now most famous for the combination of Ray Charles sample and Jamie Foxx impression that cooked up the gold dust for Kanye West’s stupendous ‘Gold Digger’ in 2005, ‘I Got A Woman’ itself takes inspiration from gospel song ‘It Must Be Jesus’, in the process marking out the territory for what would become soul music.