If you’re more than the average fan, chances are you can go word for word or note for note with any litany of wrestler themes across a multitude of eras. The entrance theme is a vital part of any wrestlers persona and plays a major role in how they are received by the live audience. A great entrance theme can put a rising star on the average fans radar or propel an already established star to an unthinkable level, case in point, Chris Jericho’s Judas. However, many times wrestlers who aren’t particularly pinned by management for the main event scene are often saddled with any number of boring or reused stick music from the WWE library. While other companies such as AEW have shelled out some major bucks for song rights in the past year, we completely understand the sizable reason why this luxury cannot be afforded to everyone. That being said, some theme choices just seem too obvious to pass up!

Lunatic Fringe: Dean Ambrose

Now listen, Tony Khan’s recent Acquisition of Wild Thing for Moxley is a spot on fit, we’re not debating that. However, The WWE’s Dean Ambrose was a very different character entirely. Taking much of the hardcore and ruthless style Moxley was known for and toning it down, WWE startled the then Dean Ambrose with the monicker, Lunatic Fringe. Had this maybe just been “The Lunatic” maybe it would’ve had more legs, but I can honestly say I’ve never once heard the phrase “lunatic fringe” used outside of the 1981 Red Rider song of the same name. This was no one and done nickname either, it stuck with him his entire WWE career! You’d think at some point this would’ve been adapted to his entrance theme, maybe when he broke out from The Shield as a singles star, maybe after he won his first WWE Championship, or one of his big returns to the ring, but no. The opportunity was always there several times over, it would seem more than anything “The Fed” just didn’t want to spend the extra green on The Dean. This theme may have been the catalyst that took the Ambrose persona to a more serious and ruthless level, alas all we ever got were some awkwardly places sirens over the same old tune.

Be A Man: Randy Savage

Getting a little more specific on this one, Pomp and Circumstance is 100% the definitive Macho Man theme. The only song that could’ve possibly played the cream of the crop to the ring for all those glorious years, but we’re not talking WWF here, hell we aren’t even taking WCW. In a very unexpected turn of events The Macho King found himself signed to a TNA contract in 2004 just in time for his big debut at their Turning Point PPV. This wasn’t the robe wearing, colorful, catchphrase spouting Savage of old though. More reminiscent of his latter-day WCW gimmick, Savage was back in black, head-to-toe leather with a more serious demeanor than ever. This would’ve been the perfect time for Randy’s rap album Be A Man to be brought to the live wrestling audience. With the self titled track playing him too the ring, this much more grizzled and rough are kind the edges Savage would’ve been backed by his own fitting signature gravely voice, rather than some weird dance club inspired version of his classic theme.

Ziggy Stardust: Stardust

His name was Stardust. Stardust, how do you drop the ball on this. Presumably, the copyright for David Bowie must’ve been immaculate, however, if they planned to keep Cody in that silly little trash bag suit, which clearly they did, why not invest in it. There is a long standing theory in the wrestling world that Mr. McMahon has always forced the Rhodes family into ridiculous gimmicks and costumes in order to get back at Dusty and the NWA for opposing his product, be it yellow polka dots, the “Androgynous” Goldust, or … this thing, and we can’t help but believe that to be at least partially true. I mean for God sake, he even painted his face like Bowie upon the singers passing. Just imagine how much more of a presence, and less of a joke, this could’ve been with Cody walking to the ring as the Ziggy Stardust guitar riff blared behind him, you know the one.

Break On Through: John Morrison

This one legitimately bothers me to this day. The whole basis of the John Morrison gimmick is that he bares a striking resemblance to Doors front man Jim Morrison. Literally, look at his early presentation on WWECW, his attires, manner of speech, what he references, HIS DAMN FINISHING MOVE IS THE STARSHIP PAIN. He is a walking tribute to The Doors. So if someone could please explain to me what in the hell his entrance theme is suppose to sound like, because it damn sure ain’t Jim. The only thing I keep telling myself is that someone pitched the gimmick to the audio department and had to try and explain what The Doors sounded like without ever listening to them. “Yeah man, so it’s like, psychedelic 70s rock with heavy guitar influence then add some guy who sounds drugged out over it”. That’s the only logical explanation I have, and that’s no disrespect to Jim Johnston because he was a phenomenal asset to the company, by damn what the hell happened here. It doesn’t even have to be Break On Through, it could literally be ANY Doors song, Hell it could be a knock off instrumental cover of a Doors song. Something that makes sense is all I ask for, is that too much? Well, I’m WWE yes, yes it is.

Bonus Track

The Touch: Hulk Hogan

I just need this for one night only. Imagine it, the Nitro following the infamous “Finger Poke of Doom”, Hogan hits the ramp with the WCW/NWO World Title as “YOU’VE GOT THE TOUCH” blares behind him, flanked of course by the Touch-ee himself Big Sexy, Kevin Nash. You’d laugh, admit it.

Let us know what themes you think wrestlers should have been using down below and be sure to check out more blogs like this one right here!

-Stye