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19 October 2023

STAGE-NAME

HOW TO COME UP WITH A STAGE NAME

MUSIC, OLD /
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    What’s in a [stage] name? Quite a lot, actually. Just ask the likes of Peter Gene Hernandez and Paul David Hewson, who are now respectively known to millions as Bruno Mars and Bono. Would Elton John have achieved such phenomenal success as Reg Dwight? Would Lady Gaga be on course to become an EGOT had she stuck to Stefani Joanne Angelina Germanotta? It’s difficult to say. But in an industry brimming with brilliant new artists, there’s definitely a strong argument for picking a pseudonym that stands out.

    So, what is a stage name, and why would you want one? Well, it’s a name assumed for professional purposes, which can be very helpful in creating a clear divide between the career and the individual, for mental health reasons as well as practical considerations. Plus, the process of selecting a stage name is essentially a branding exercise, offering artists the invaluable opportunity to position themselves within the market.

    As for what makes a good stage name, there’s no definitive formula, but you can’t go wrong with a soupçon of sass, a dash of wit, a keen understanding of your audience and a whole heap of originality. Here, we talk you through the process of how to make a stage name for your musical project, hear from Audio Network-approved folk singer Eddie Island about his nom de plume, and provide some inspiration for pseudonyms with staying power. After all, switching aliases mid-career can be a costly business, and you’re going to need a name that can grow with you as you journey from playing intimate venues to selling out stadiums.

    How to Pick a Stage Name: A Step-By-Step Guide

    Research

    As mentioned previously, the process of picking a stage name is a branding exercise, and as with any marketing it’s vitally important you research the market you’re entering. Look at the artists you admire – in particular, the artists you feel occupy a similar musical sphere – and observe what they’re doing. Think about the emotions these stage names evoke. Examine how they look written down, both online and in printed materials. Say stage names out loud to see how easily they roll off the tongue.

    Genre and audience are big considerations. For example, if you’re making ambient music, an aggressive pseudonym could perhaps feel jarring. Equally, if you’re aiming at a mass market, you might pick something punchier than you would if you were operating within more specialist genres.

    Brainstorm

    AKA the fun part! Throw ideas at the wall, always bearing in mind the mood you want to evoke, and how your stage name will support your identity and capture your essence as an artist. Think about how the name will travel internationally and take care to avoid being culturally insensitive. At this stage there are no bad ideas, so let your imagination run wild. Remember: a stage name provides another outlet through which to express your creativity and have some fun.

    Refine

    Whittle down your longlist of stage name ideas and then do some due diligence on your top choices. Research the names online – both by Googling and by browsing social media – and see what comes up. Check streaming services for similar artist names and check whether the social media handles are available. Because, above all else, your stage name needs to be unique.

    Get Feedback

    Once you’ve gathered a few options you’re happy with, canvas friends and family. If you have an established fan base already, share your shortlist for some brutally honest feedback. View their comments as some invaluable market research into how others view you as an artist. And if your ideas don’t land instantly, it could be an indicator of how impactful the stage name is.

    Follow Your Gut

    Take feedback on board but ultimately it’s your decision. After all, if everything goes well you’ll be answering to the name day-in, day-out for the foreseeable future.

    How to Pick a Stage Name: How Eddie Island Did It

    Audio Network-approved singer-songwriter and American Idol-alumnus Edward Lee Liggitt III knows all about the importance of picking the right stage name. Speaking to Artist Uprising, the Nashville-based star explained how he ultimately ended up writing as Eddie Island.

    “It’s kind of a crazy story. I was depressed, and I was living in my friend’s living room with another guy next to me who was working at Target with me. A friend texted me and said, ‘You’re isolating yourself. You’re becoming Eddie Island,’ and I thought, ‘You know what? I am Eddie Island,’ and I turned it into a positive. I started going to shows and parties, and my friends would say, ‘that’s Eddie Island.’ I just ran with it. Out of all the names I ever tried, Eddie Island stuck. I made my own world and I'm welcoming everyone to it.”

    Check out Eddie’s latest album, Folkstar.

    How to Pick a Stage Name: Common Tactics

    Mononyms

    We’re talking about your Beyoncés, your Adeles and your Madonnas. Mononyms as stage names are instantly iconic, because what could be bolder than asserting your supremacy over all other individuals of the same name? It’s a tactic usually best suited to unusual given names, though the success of Dave proves it can work well with more common monikers too.

    Acronyms

    Use acronyms to say something deeper about your interests or values. High profile examples of acronymic names for singers include Grammy-winners SZA (derived from the Supreme Alphabet) and H.E.R. (a play on the artist’s emotional evolution, which simultaneously stands for “Having Everything Revealed”). Or you could follow Marshall “Eminem” Mathers’ lead and create a phonetic spelling of your initials.

    Variations on Your Real Name

    What do Rihanna, Kendrick Lamar and Billie Eilish all have common? Their stage names are all shortened versions of their given names, which are Robyn Rihanna Fenty, Kendrick Lamar Duckworth and Billie Eilish Pirate Baird O'Connell (phew) respectively. And then there’s Halsey, whose stage name is an anagram of her given name Ashley.

    Paying Homage

    Some artists choose to pay homage to creative inspirations within their stage name, e.g. Elton John whose pseudonym is references both jazz saxophonist Elton Dean and blues singer Long John Baldry.

    Aspirational Names and Alter-Egos

    Cultivate a persona with a name you feel matches the spirit of your music and image. One of the best examples of this approach is Lana Del Rey – born Elizabeth Woolridge Grant – whose stage name evokes a type of old school Hollywood glamour perfectly in keeping with her lush productions and languid vocal style. Or you could take a leaf out of David Bowie’s book and create a series of alter-egos through which to explore different musical directions.

    Nicknames

    Run with any existing nicknames you might have, as per Birdy, Bono and Cardi B.

    In-Jokes

    Isle of Wight indie-duo Wet Leg take their name from a term locals use to describe non-islanders. Doja Cat’s unusual moniker combines her feline obsession with her favourite strain of marijuana.

    Internet Aliases

    Have a strong online presence already? Use your internet alias as a stage name, a la Montero Lamar Hill, AKA Lil Nas X. Or you could follow the lead of Beatrice Laus AKA Beabadoobee, whose pseudonym was taken from her finsta (fake Instagram account) handle.

    Looking for more stage name inspiration? Head over to our blog to hear some of the stories behind the biggest stars’ stage names, and to have some fun creating your own nom de guerre with our very own Stage Name Generator. And you can find loads more inspiration over on our blog The Edit, which is helpfully divided into articles providing Expertise, Inspiration and News.

    Discover and sample our playlists and collections, or browse the latest albums and our very own top 40. Each and every one of our high-quality background music tracks is licensed for use in you in your next production, whether you’re working on TV programming, films or advertising.

    Need Music for Your Project?

    At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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    This page was updated 24/05/2024 and 27/06/2024.

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    HOW TO MAKE A MUSIC VIDEO

    HOW TO MAKE A MUSIC VIDEO

    OLD, PRODUCTION /
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      For decades, music videos have been crucial to an artist's career and legacy. And although the youth of today access music videos in different ways than their parents, music videos old and new rack up millions of views every day, which is why the industry still spends a lot of time, money and energy creating them.

      Here’s our expert, step-by-step guide to how to make music videos. Who knows, perhaps you’ll soon be well on your way to creating the next classic – a music video to join the pantheon of greats alongside Luis Fonsi’s ‘Despacito’, Madonna’s ‘Like a Prayer’, Childish Gambino’s ‘This is America’ and Doja Cat’s ‘Say So’.

      How to Make a Music Video:

      • Song
      • Equipment
      • Planning
      • Budget
      • Filming
      • Editing
      • The Edit

      How to Make a Music Video

      Song

      So, obviously, the first thing you need to create a music video is a song. The best music videos of all time are informed by the genre, vibe and lyrics of the song at the centre of the production. Here are some of the best examples:

      Inspired by Genre

      Taylor Swift’s 2020 album Folklore marked the singer’s return to her folk-country roots, and the first single, ‘Cardigan’, was released alongside an enchanting music video that couldn’t be more rural if it tried. Patently, Swift’s goal was to exhibit a new era in which the singer was to honour the genre(s) that initially made her fall in love with music.

      Inspired by Vibe

      One of the most memorable music videos in recent years is Doja Cat’s ‘Say So’ video, which embraces a ’70s aesthetic. To complement the track’s flower-power disco feel, the singer-cum-rapper packed the almost four-minute film with vibrant costumes, glitzy accessories, retro-tech and to-die-for home interiors. This video alone rocketed Doja’s career to new levels. The moral of the story? Sometimes, let the vibes sit in the driver's seat.

      Inspired by Lyrics

      Childish Gambino’s ‘This is America’ was a hit that came out of nowhere, which broke ground for numerous reasons. Listen to the lyrics, and you will discover the artist is touching on a range of pressing matters, including gun violence in the USA. To ensure the message of the lyrics wasn’t lost within the upbeat nature of the track, Gambino worked on an artistic music video that seeks to encourage audiences to pay attention to the points that the artist is raising.

      Equipment

      Once you’re settled on your song and a vision for the music video you want to create, it’s time to purchase (or rent) your equipment. When it comes to how to film a music video, here are the three key things you’re definitely going to need if you don’t have them already.

      Cameras

      Unless you’re planning on creating an animated music video, such as Daft Punk’s ‘One More Time’, you’re going to need to get your hands on some cameras. Naturally, the better the camera you invest in, the better the quality of your music video; although, having said that, it’s not uncommon for artists to use outdated tech to create a nostalgic, retro look.

      No matter what type of camera you decide on for shooting music footage, we recommend you secure multiple devices so that you can capture it from various angles and, in turn, have options when it comes to the editing stage of the production process.

      Discover how you can use multiple camera angles to switch things up by watching Deee-Lite’s ‘Groove is in the Heart’.

      Lighting Equipment

      Lighting is hugely important when it comes to music videos – especially if the music video you’re looking to create tells a story. Although it’s not uncommon for music video producers to film scenes without any lighting equipment, having the equipment within reach can open up a whole new world of possibilities.

      If you’re new to artificial lighting, you may want to try out the three-point lighting method that’s popularly used in a variety of media projects, including film and television. As the name suggests, the method involves three light sources strategically placed at different angles around the subject. This illuminates the subject, making them – or it – the key focus within the scene.

      Looking for some lighting inspo? Personally, we love how Adele is always the primary focus of her ‘Oh My God’ music video, no matter what’s going on around her, thanks to the expert use of lighting.

      Audio System

      As the artists are lip-syncing in their music videos, it helps if there’s a stellar audio system on set to help the vocalist get into the moment and lip-sync as accurately as possible.

      Ariana Grande always gives a convincing performance in her music videos, which makes us wonder what type of audio system she and her team are opting for when it comes to production. Something by Bose, perhaps?

      Planning

      The best way to plan anything is to ensure you have an answer to all of the most obvious questions. The main questions you should be asking yourself when organising your shoot are how long will it take, what’s the budget, who’s going to be in it, and where are you shooting it?

      An element that the pros bring into their planning is a treatment, together with moodboards and storyboards. This can help you to pin down what kind of budget you need – and potentially how long it will take to film your video.

      The Treatment

      A treatment is a short document outlining the concept, direction, aesthetic and style of the video. You can think of your treatment for your music video in the same way as the script for a film – it provides the building blocks and the structure for everyone to follow. There’s no right or wrong way to do it in terms of how long it is – you can create a one-pager, or something more detailed that’s up to 10 pages.

      Often, when crafting your treatment, you may realise that your concept will take you way over budget. Or that your concept is out of sync with the style or tone of the music, so it’s a useful exercise in lots of ways.

      The most effective music video treatments have plenty of visual images for reference – don’t make it too descriptive, as people reading it may tune out.

      Find out more on how to write music video treatments courtesy of The Buff Nerds:

      Moodboards

      Creating moodboards (also known as idea boards or theme boards) can help you to put together a succinct treatment and will provide the foundations for a storyboard and shot list.

      Moodboards are a practical way to take your creative ideas and bring them to life in the real world. In film-making, the story will intrinsically have a tone, emotion or mood – work out what you’re trying to convey through your video. Plus, they’re a great reference for your team, from the director to the stylist.

      There are various free apps to create moodboards, which include templates to make life easier. Online moodboards can include images, video, links and colour references. Collect your materials – such as stills from previous shoots, client references or images you’ve saved from Film Grab, Instagram or Pinterest.

      Then add in inspiring examples of movement, animation or sound from YouTube, Vimeo or Shotdeck. Once you’ve gathered all your inspiration together, arrange them by exploring your composition, and introducing some hierarchy. Choose a key element to anchor your board, and adjust the size and position of the other elements to show their importance in your overall vision. Then pop in a few written notes – such as how you’re thinking of using lighting or props - to finish off.

      How Long Does It Take To Shoot a Music Video?

      The length of time it’ll take to shoot a music video will depend on the variety of scenes you want to feature within it. More often than not, music videos will feature different storylines that combine to give the video an overall flavour. Of course, the more variety you’re planning on including, the longer the filming process will take.

      If, on the other hand, you want to film the music video in just a few takes in the same location, you’ve got more chance of wrapping up the shoot in a day or two. Keep on track and on schedule by creating a shot list.

      A great example of a music video that would’ve only taken a few days to film is ‘APESHIT’ by The Carters. Filmed entirely in The Louvre, Jay and Bey switch things up by suiting up in a range of different ensembles.

      Who Is Going to Be in the Music Video?

      It’s paramount that you consider who is going to be in the music video you’re working on, as every music video is different. If the artist is anything like Britney, there will be a fair few dancers showcasing their moves. Whereas an artist such as Drake will feature a range of extras and guest appearances. Or what about Sia, who has used stand-in and muse Maddie Ziegler in many of her music videos, including ‘Chandelier’.

      Once you know who’s going to feature in the video, you’ll then have to establish their availability and put together your shooting schedule.

      Where Will You Film the Music Video?

      Speaking of location, you must think carefully about the most suitable space to film your shoot. If you’re looking to film inside or on the grounds of a premises, you’ll need permission from the building’s owners.

      If you’re looking to film outside, you need to consider the weather conditions that you’ll be dealing with that day. If you want to film in a remote location (Beyoncé’s The Gift album comes to mind), you must consider how the entire team – camera crew, stylists, dancers etc – will get there safely and on time.

      What are the other elements you’ll need to plan? Wardrobe, hair and make-up are three of them. Refer back to your treatment and moodboard – is the mood fashion-forward? Psychedelic? Set in space? According to your concept, you may need to hire costumes and props.

      Hiring a professional stylist, if you have the budget, can make a big difference in terms of making your video look 100% how you want it. They’re experts in knowing what does and doesn’t work on camera and they’ll have contacts from costume designers to designer labels who may want to lend you clothes for the shoot.

      Take a look behind the scenes as stylist Maeve Reilly works on a fashion-driven video to create seven different looks for Dixie D’Amelio’s ‘Psycho’ video:

      And if you’re shooting with green screen, then check out our article, which gives you tips on wardrobe to make sure your star doesn’t appear as just a floating head on the screen…

      Hair and Make-up

      Hair and make-up need to support the overall look. If you’ve got limited resources, you may get your artists to do their own make-up and hair. But if you’ve got the budget, again, it’s worth bringing in the experts and finding a make-up artist (they’ll often do hairstyling too.)

      Share your moodboard with them, and ask for their input and advice on creating the look you want. Remember to factor in whether you’re shooting outdoor, in natural light, or indoor, as different lighting will affect how the make-up looks on screen.

      Budget

      Making music videos can be expensive, which is why you need to establish, and stick to, a budget. And while it’s true that more money means more opportunities, a true creative will find ways to bring their vision to life, no matter the budget. Let’s take a look at a high-budget and low-budget video and see how the producer of each has used the resources available to them.

      ‘No Love’ – Summer Walker, SZA and Cardi B

      Released in March ’22 alongside the single, the ‘No Love’ music video stars the three artists that collaborate on the track – Summer Walker, SZA and Cardi B. The costumes are extravagant; the props, opulent; the settings, dreamy; the dancers, the crème de la crème. Not to mention, each artist has the best hair and make-up team on their side. The result? An out-of-this-world adventure that’s polished to the nines.

      ‘Red Barz’ – Cardi B

      Before the glitz and glam, Cardi B created music videos the only way she knew how. In the 2017 video for ‘Red Barz’, the rapper – dressed in all red to complement the theme of the track – and her friends can be seen in the video together in different urban locations. It’s impossible to compare this with ‘No Love’, released five years later, as the vibe is completely different, but one thing’s for sure: this video was created on a fraction of the ‘No Love’ video.

      For a fun, super-low-budget approach, you might need to be Harry Styles and James Corden, who attempted to film a music video for ‘Daylight’ in three hours and with a budget of just $300.

      Filming

      Finally, you’re at the filming stage! All of the pieces of the puzzle are put together and you’re ready to go. Our advice is to nominate a director, or even think about hiring an external director who puts everything and everyone in the right place to make some music video magic. You may even want to consider letting the director take creative control – tell them what you envisioned and what you want the outcome to be, and watch them turn your project into their own. Here are some examples of music videos directed by acclaimed directors.

      ‘The Rain (Supa Dupa Fly)’ – Missy Elliott

      Hype Williams is, arguably, the best music video director ever; and one of our favourite music videos directed by the Queens-born creative is the music video to Missy Elliott’s ‘Supa Dupa Fly’. Throughout the video, Hype brings the rapper into his world using his signature fish-eye lens camera, special effects and futuristic backdrops.

      ‘Da Funk‘ - Daft Punk

      If Hype Williams isn’t your favourite music video director, Spike Jonze likely is. The American director, who also counts himself as an actor, musician and photographer, has created music videos for the likes of Fatboy Slim, The Beastie Boys, Arcade Fire and Daft Punk. But our favourite music video directed by Spike is Kanye West’s ‘Only One’  ft. Paul McCartney. Personally, we feel as if no one else would’ve been able to exhibit the raw being of Ye quite like Spike.

      ‘Falling Back’ – Drake

      Whether you’ve heard of Director X before or not, he’s the man behind some of your favourite music videos released over the last few years, including those for Drake’s ‘Hotline Bling’, Iggy Azalea’s ‘Fancy’ and Ariana Grande’s ‘34+35’. Most recently, the director proved to the world that he’s still got it with his video for ‘Falling Back’, the first track from Drake’s seventh studio album Honestly, Nevermind to get a video.

      If you require further guidance, we recommend you watch Monkeypixel’s video about shooting a music video.

      Editing

      The final step to making a music video is to take all of the captured footage and turn it into something that is either the same length as the song or slightly longer. Here are three things you could think about adding to your video during the post-production process.

      CGI Landscapes

      If you have a tech whizz on your team, it’s completely possible that they may be able to quite literally take your music video to new worlds by creating CGI landscapes. Just look at Doja Cat and The Weeknd’s video for ‘You Right’ – the entire thing is set light years away from the Earth we know.

      Titles & Title Cards

      It’s not uncommon for title cards to be used in music videos, especially if that music video stars Lady Gaga. In her 2020 party hit ‘Stupid Love’, the pop star places a title card at the very beginning of her video to set the scene, which is swiftly followed by a CGI graphic that informs viewers of the title of the song and, in turn, the music video.

      Background Music

      There are hundreds of music videos out there that feature scenes before, during and after the song commences which add to the story told within the video. One of the most famous examples is Michael Jackson’s ‘Thriller’.

      Plus, if you require any background music or sound effects, we invite you to check out our range of licensable compositions via our playlists, collections and latest albums pages.

      The Edit

      Now that you’ve got a clear idea of what it takes to produce a music video, it’s time to put all your knowledge into action. And for more top tips, discover our articles on The Edit, our regularly-updated hub featuring hundreds of articles full of inspiration, expertise and news. There are deep dives on everything from the most-watched music videos of all time to how to use green screen, film-making editing software and more.

      Need Music for Your Project?

      At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

      SIGN UP

      This page was updated 28/05/2024.

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      DISNEY MUSIC

      THE BEST DISNEY SONGS OF ALL TIME

      MUSIC, OLD /
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        Disney songs are the soundtracks to nearly everyone’s childhoods. And with their increasingly complex and serious plots – from Inside Out to Coco and Soul – us grown ups can still enjoy them on heavy repeat too. But which are the most famous Disney songs? Which Disney princess has the best song? And which of the Disney villains sets out their stall best in terms of a tune? We’ve picked out what we think are the best Disney ditties, as we celebrate animation and singing at the top of our lungs.

        The Best Disney Songs

        1. Frozen - Let It Go
        2. Beauty and the Beast - Be Our Guest
        3. The Jungle Book – I Wan’na Be Like You
        4. Aladdin - A Whole New World
        5. Coco – Remember Me
        6. The Lion King – The Circle of Life
        7. Toy Story – You’ve Got a Friend in Me
        8. Mary Poppins Returns – The Place Where Lost Things Go
        9. Up – Married Life
        10. The Little Mermaid – Under the Sea
        11. Moana – You’re Welcome
        12. Hercules – I Won’t Say I’m in Love
        13. The Jungle Book – That’s What Friends are For
        14. Aladdin – Prince Ali
        15. The Jungle Book – The Bare Necessities
        16. The Lion King – Hakuna Matata
        17. Snow White – Whistle While You Work
        18. Ariel – Part of Your World
        19. Belle
        20. Tiana – Almost There
        21. Moana – How Far I’ll Go
        22. The Jungle Book – Trust in Me
        23. 101 Dalmations - Cruella de Vil
        24. The Lion King – Be Prepared
        25. Fantasia

        Frozen – Let it Go

        The top Disney song of the last decade is surely ‘Let it Go’ – everyone from small children to grown adults at karaoke loves to sing this as loudly as possible. ‘Let it Go’ is an absolute belter about embracing your real self, seizing your power and not giving a damn about society’s expectations. Sung by Tony-winner and prolific Broadway performer Idina Menzel (who also originated the role of similarly outcast Elphaba Thropp in Wicked), the song was written by husband and wife songwriting team Kristen Anderson-Lopez and Robert Lopez and won both an Oscar and a Grammy. It was also the first song from a Disney animated musical to reach the top ten of the Billboard Hot 100 since 1995.

        You may not be able to go full Elsa-does-Grand-Designs and build yourself an ice castle, but if you fancy a sing-a-long, then dive right in.

        Need more kick-ass women? Listen to our playlist.

        Beauty and the Beast - Be Our Guest

        Hear this song more than once, and every time you sit down to a fancy dinner, you’ll be humming it as you drape your napkin over your lap. Plus, as Lumiere points out, whilst acknowledging that Belle’s feeling alone and scared, ‘The banquet’s all prepared/No-one’s gloomy or complaining/While the flatware’s entertaining/We tell jokes, I do tricks/With my fellow candlesticks.’  A joyous ode to eating, sung by a French candlestick? Mais oui - bon appetit!

        The Jungle Book – I Wan’na Be Like You

        Ranking as one of the most popular Disney songs, with an addictive rhythm, trumpets and truly swinging jazz (in every sense), this is a top scat banger, sung by Louis Prima, which proves very effective at distracting poor old Baloo. You’ll come for the foot-tapping melody and the cheeky monkeys (‘Obee-do’!), then be dismayed by the fact that King Louie is actually a total villain, who wants something very big from Mowgli in return, in the shape of ‘man’s red flower’ – ie, fire. What does he want it for? We suspect it’s not just for barbecuing bananas, as delicious as that is, even though it’s never actually made explicit, only that he wants to ‘learn to be human’.

        Aladdin - A Whole New World

        Aladdin and Jasmine’s duet is such a top Disney song that it knocked Whitney Houston’s record-breaking ‘I Will Always Love You’ off the No. 1 spot in the US charts. (Also one of the best ever movie love songs.) Amazingly, it’s the only Disney song ever to make it to No. 1 in the US. A Disney love song that take you travelling around the wonders of the world via a magic carpet? Fun, romantic and better for the environment than a private jet.

        Coco – Remember Me

        Coco, which tackles hefty themes such as death and dementia, features this tear-jerker. It’s written by Roberto Lopez and Kristen Anderson-Lopez, the same team behind ‘Let it Go’, and its melody is inspired by Chopin.

        For sad songs for your production, have a listen to this playlist.

        The Lion King – The Circle of Life

        Talk about an iconic opening sequence – if you haven’t seen The Lion King, then you really haven’t lived. No dialogue needed, just the imagery of all the animals and birds coming together across the plains, gathering at Pride Rock to celebrate the birth of Simba, and that huge Elton John/Tim Rice song, complete with Lebo M.’s Zulu chant and Carmen Twillie’s vocals.

        The song may have missed out on an Oscar (to ‘Can You Feel the Love Tonight’ from the same soundtrack), but this video’s been viewed over 229 million times, for good reason – it’s an almost biblical epic.

        Toy Story – You’ve Got a Friend in Me

        Randy Newman has scored nine Disney films, and the most famous song from them is Toy Story’s simple, gorgeous hymn to undying friendship. It appears in all four of the Toy Story films, including a Spanish language version by The Gypsy Kings in Toy Story 3. In terms of classic Disney songs, this has got to be one of the best, as it’s used in so many different ways throughout the series.

        Mary Poppins Returns – The Place Where Lost Things Go

        This lullaby from Mary Poppins Returns taps into the sometimes stern Mary’s more wistful, emotional side, as she tries to comfort the children, who are mourning their mother. The song took its inspiration from an idea in P.L. Travers’ original Mary Poppins series, that the man in the moon is Mary Poppins’ uncle and he keeps all the lost things on the dark side of the moon.

        ‘Maybe all those things/That you love so/Are waiting in the place/Where the lost things go’ is certainly a very comforting idea.

        Up – Married Life

        Is there a sadder opening sequence to a film than the montage that kicks off Up? If you’re a child, you might not 100% get what’s going on, but for an adult, it’s like being presented with a fast-forward version of what your own life might be like. You go through the whole of Carl and Ellie’s relationship, from meeting until her death, with all of the couple’s joys and sadnesses.

        Composer Michael Giacchino won the Grammy for Best Instrumental Composition for the tune, ‘Married Life’; director Pete Doctor had requested a song that sounded as if it were from a grandmother’s music box. It’s a masterclass in dialogue-free storytelling.

        The Little Mermaid – Under the Sea

        Devoting their full time to floating are Ariel’s underwater chums, led by Sebastian the crab, who warns her that her dreams of trying a new life on land are ‘a big mistake’. They know what happens to fish up there (‘One day when the boss get hungry/Guess who’s gon’ be on the plate?’), whereas ‘We got no troubles/Life is the bubbles/Under the sea’. It’s a glorious calypso, whose easy rhythms bring to mind just hanging out in warm waters, doing nothing very much.

        Moana – You’re Welcome

        Lin-Manuel Miranda, the multi-talented writer of Hamilton, wrote this homage to 60s sunshine pop. Has there ever been an entity with more self-confidence than Maui? ‘I know it’s a lot: the hair, the bod!/When you’re staring at a demi-god’ – plus he’s taken responsibility for supplying the tides, sun, the sky, fire, coconuts… The list goes on. Yeah, we get it, Maui, you’re some kinda guy. Oh, but wait – the one thing Maui can’t do is float, so he’s going to need to ‘borrow’ Moana’s boat, leaving her stranded in a cave. Dammit.

        Hercules – I Won’t Say I’m in Love

        Heroine Meg sings a love song from the perspective of a girl who doesn’t want to be in love. She knows she doesn’t pick the best (‘If there’s a prize for rotten judgement/I guess I’ve already won that’), but her excellent Greek chorus (geddit) are having none of it; the sassy toga-clad gals are going to be on her case till she admits she’s in love (‘Girl don’t be proud, it’s okay you’re in love’).

        The Jungle Book – That’s What Friends are For

        Our hero, Mowgli, is not doing well, when he comes across some vultures who endeavour to cheer him up by offering to be his friends (‘we’ve never met an animal we didn’t like’). It’s a barbershop quartet showstopper that was supposed to be voiced by the Beatles (hence their mop-top hairdos – you can also see some physical resemblances in the way they’re drawn and speak), but the Fab Four’s schedule didn’t permit – and apparently John Lennon wasn’t keen either.

        It’s a heartwarming song, till baddie Shere Khan shows up at the end to add a very deep solo.

        Need a bit of barbershop? Give this track a listen.

        Aladdin – Prince Ali

        You want extra? You got extra – Prince Ali’s got elephants, monkeys, enormous platters of gold, thousands of servants – not to mention in the animated version, an array of glorious Robin Williams voices and characters. It belts along, throwing more extravagance in with every line, leaving the audience totally dazzled.

        You can play compare and contrast with the live action version, which is a bit more slinky, tune-wise, with Will Smith as the genie (riding ostriches at one point) in a gloriously technicolour, Mardi Gras-influenced extravaganza.

        The Jungle Book – The Bare Necessities

        Nominated for an Academy Award, Baloo the Bear’s song is the ultimate paen to either being a total slacker or, more kindly, living in the moment, de-stressing and adopting a ‘God will provide’ attitude. (Not to mention foraging for ants.) Scratching your back against a tree has never seemed like so much fun.

        The Lion King – Hakuna Matata

        The spiritual successors to Baloo the Bear are warthog Pumbaa (Ernie Sabella) and meerkat Timon (Nathan Lane), whose ‘problem-free philosophy’ of Hakuna Matata espouses the idea of ‘no worries, for the rest of our days’ – plus Timon even tries to convince Simba that eating grubs is great, just as Baloo did with Mowgli and the ants. And you get a lovely little growing-up montage of the three chums walking over a log against the moonlight. It’s an instant earworm, and if you sing along, it definitely cheers you up.

        Disney Princess Songs

        Snow White – Whistle While You Work

        We might’ve been stuck in lockdown in our own homes for too long, but having a load of woodland animals to help with the housework looks curiously appealing. A variety of bushy tails make great dusters; tweeting birds bring you primroses and Snow White trills away very happily. If you’ve got to encourage everyone to do their share of the chores, then make them sing, ‘As you sweep the room/Imagine that the broom/Is someone that you love and soon/You’ll find you’re dancing to the tune’ to one of these jaunty whistling tracks.

        Ariel – Part of Your World

        Ah, the age-old longing for grass that’s greener, and, in fact, a totally different world. One that involves ‘What do you call ‘em?/Oh, feet’. The iconic song was apparently at risk of ending up on the cutting room floor until lyricist Howard Ashman fought for it. Jodi Benson, Ariel’s ‘voice’, told EW.com that he said, ‘you can’t cut an ‘I Want’ song at the beginning of the film, because you don’t have your hero or heroine to root for the whole film. You lose that piece of the puzzle, especially for Ariel losing her voice. There would be that missing storytelling device.’

        After all, how could a world that makes neat things like forks and candelabras not be great?

        Belle

        Belle does the rounds of her tiny town, being nice to everyone she meets, even as they claim she’s such a ‘funny girl’. Mind you, she thinks they’re a bit provincial, compared with all the adventures and romance she’s reading about. Not that that bothers hunky old Gaston, who just wants to have the most beautiful girl around for his wife.

        Check out the live action version with Emma Watson as Belle, and Luke Evans as Gaston:

        Tiana – Almost There

        The Princess and the Frog’s Tiana suffers from a common Disney Princess problem: she wants something more out of life – and most people think she’s crazy. But unlike quite a few princesses, who have an idea of what they want, but not how to get it, Tiana’s got it all mapped out. Her father told her fairytales can come true, but, ‘you gotta make ‘em happen/it all depends on you’. She’s put in the hard work, made her sacrifices and now she’s almost there. Inspirational and uplifting, it definitely ranks up there as one of the best Disney songs.

        Moana – How Far I’ll Go

        For the Moana soundtrack, Disney wanted to combine traditional South Pacific culture with pop and Broadway sensibilities, hence getting Hamilton’s Lin-Manuel Miranda on board, together with composer Mark Mancina and Tokelauan singer-songwriter Opetaia Foa’i. The songs feature a New Zealand-based vocal group, Te Vaka, as well as a choir from Fiji. ‘How Far I’ll Go’ was nominated for both a Golden Globe and an Oscar.

        Moana is an adventurous teenager who wants to become a wayfinder to fulfil her quest to save her people and discover the one thing she’s always sought: her own identity. Voiced by Auli’i Cravalho, this song soars as Moana wonders how far she’ll go, leaving her island, and life as a dutiful daughter, behind.

        Disney Villain Songs

        Who’s the baddest Disney villain? It’s a tough call, but we’re going for Scar from The Lion King. He’s fully terrifying and he destroys a whole kingdom within minutes of taking it over. Not to mention orchestrating a herd of wildebeest to kill your own brother, leaving your nephew booted unceremoniously into the wilderness. But which other villains have great tunes under their evil belts?

        The Jungle Book – Trust in Me

        Did you know that wicked snake Kaa’s swivel-eyed, hypnotic song was once called ‘Land of Sand’ and was intended for Mary Poppins? Or that Siouxsie and the Banshees recorded a version of it for their album Through the Looking Glass? Never has a lullaby sounded so sssssssinister.

        101 Dalmations - Cruella de Vil

        It’s surely a strong case for Disney’s nominative determinism, but a woman who skins puppies to make her fur coats is definitely up there for villainous intent. Plus, just look at her – she’s entirely composed of angles that look like they could take your face off with one side-glance. (Her super-long cigarette holder also makes for a great bad gal prop.) She doesn’t get a song to sing herself, but Roger – the 101 Dalmations’ owner, sings a piano and trombone anti-tribute to Cruella’s awfulness. ‘If she doesn’t scare you, no evil thing will.’ Got it in one.

        The Lion King – Be Prepared

        As we said, for our money, Scar is the baddest of all the Disney villains – and in ‘Be Prepared’, he really sets out his stall, against a backdrop of pure, evil, green smoke, and a tango rhythm, as he tells the dim-witted, goose-stepping hyenas about his master plan to kill both his brother and his nephew. ‘My teeth and ambitions are bared’ is a pretty snappy slogan – at least you know exactly what you’re getting if you choose Scar as your leader.

        Disney Classical Music

        Fantasia

        In 1940, Walt Disney hoped that Fantasia would bring classical music to the masses. And he also wanted the music to take centre stage: ‘In our ordinary stuff, our music is always under action, but on this... we're supposed to be picturing this music — not the music fitting our story.’

        Eight segments are set to an eclectic selection of pieces, including Beethoven’s ‘Pastoral Symphony’, Tchaikovsky’s ‘Nutcracker Suite’, and Stravinsky’s ‘Rite of Spring’. From dinosaurs to dancing hippos, the most memorable section is Mickey Mouse’s The Sorcerer’s Apprentice. Paul Dukas’s music gradually moves from a playful, skipping march to something much more sinister, determined and insistent as the brooms multiply, creating a nightmarish army and tidal waves of water.

        Find more of Paul Dukas’s music in our Classical Collection.

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        Need Music for Your Project?

        At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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        This page was updated 15/08/2024.

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        Music for production

        MUSIC FOR PRODUCTION: EVERYTHING YOU NEED TO KNOW

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          You may not be familiar with production music as a term, but you’ll definitely have heard it. Most famously used in TV, production music in fact turns up everywhere – and it’s the content-producer’s secret weapon when you’re wondering where to find background music for videos.

          If you need to know where and when you could use production music, and how to find the very best, read on. We’ll be covering:

          • What is production music?
          • What might you need production music for?
          • How music can help your production
          • Where to get production music
          • Audio Network’s licence model
          • Hand-picked playlists
          • Soundscapes
          • Audio Network’s key search tools

          What Is Production Music?

          Production music is also known as stock music or library music.

          Simply put, it’s recorded music that can be licensed by customers for use in film, TV, radio, advertising and media such as YouTube content and podcasts. Often the music is produced and owned by music libraries.

          A production music library owns all the copyright of its music. Thus, it can be licensed without getting the composer’s permission separately. Licensing either specially-commissioned music or pre-existing tracks can be very expensive and getting permission to use it can also be notoriously difficult and time-consuming.

          You may not have heard of many of the successful artists and composers creating production music, but some of Audio Network’s most acclaimed creators, such as Terry Devine-King and Mark Petrie, have had their work featured on everything from blockbuster trailers (Avengers: Endgame) to commercials for Guinness, Rover and Barclays.

          Plus, unlike composers such as Hans Zimmer or Danny Elfman – who become known for their film and, occasionally, TV work  – a production music composer’s tracks can be used for any kind of product, from games to ads, Powerpoint presentations to big screen epics.

          What Might You Need Production Music For?

          In short – any kind of content! The best advertisements all have either memorable music – everything from the ‘Old Spice’ music (aka classical piece ‘Carmina Burana’) to the McDonald’s or Intel’s ‘audio signatures’, which are just a few notes.

          What’s a horror film without scary music? TV programmes can be full of atmosphere and tension, romance or comedy, all of which can use music to enhance the effect or guide the audience’s reaction. And not all of it has been specially composed for the show in question.

          Production music can also help you to stand out from the crowd in terms of video content – whether it’s a big presentation, a YouTube how-to or a reaction video.

          How Music Can Help to Improve Your Production

          Let’s illustrate just how music can help to improve a film production. We’re all used to seeing the final cut of a movie – it’s been edited, the sound is balanced so you can hear the dialogue, all the SFX are in place. But how does music affect the mood of what you’re watching? Watch this classic ‘throne room’ scene from Star Wars:

          Impressive, right? It’s got gravitas, with all those epic strings, orchestrations and the fanfare trumpets creating a suitably regal feel for the sequence of Han, Luke and Chewie being recognised for their heroism.

          Now watch it without the music (try not to jump when Chewbacca lets out a terrible screech):

          It’s just a long walk, a lot of awkward looks, an extra coughing in the background and what sounds like six people clapping. Zero atmosphere and not much of a way to finish the movie on a high.

          However, you don’t need to blow the budget by getting movie legend John Williams to compose an impressive score from scratch. Using production music from a catalogue like Audio Network’s is cheaper and quicker. You can search by genre, by mood, by production type and even by instrument and BPM to find exactly what you need.

          Production music can improve your content by giving it polish, making it unique (you’re not using that same Dua Lipa track that everyone else has been trying to license) and, as we’ve shown, creating atmosphere and emotion. You can also use music as a narrative device to push a story along, whether it’s in a documentary or a drama.

          Where to Get Production Music

          You can find and license production music from music libraries. As a dedicated production music company, Audio Network’s is one of the best. A global company that’s been in the business for over 20 years, Audio Network commissions original, high-quality music from 1,000+ artists and composers from every corner of the world. Often recorded at the iconic Abbey Road Studios, all our music is written and performed by the world’s best musicians and recorded with renowned producers. The catalogue spans every possible genre, to accompany any mood you wish to create.

          Our Licence Model

          In terms of licensing, Audio Network makes the process straightforward. We have tailored subscription offers (including licensing a single track) to monthly or annual subscriptions. We offer account management, and you can also contact our in-house experts for music consultancy. Give them a brief and they will pinpoint exactly the right track for you. Our music can be licensed anywhere, forever – no matter what device you’re using.

          Where Can I Find Music For…

          If you’re looking for music for a specific type of content, then we have you covered! Check out these production areas:

          Hand-Picked Playlists

          At Audio Network, we want to make sure that finding production music is quick, easy and fun – and that you have plenty of choice. So, our expert in-house team selects the best of our original music and assembles the tracks into playlists that you can browse.

          Because our catalogue has such a huge depth and breadth, it can be a bit daunting, but hit up a playlist and most of the work has already been done for you. Here are a few of our most useful and versatile playlists:

          • World Cup – When it comes to music for sport, we have a huge array. You’ll have everything to conjure sport’s emotion at your fingertips, from music showcasing determination and anticipation, to the joy of victory and the heartbreak of a narrow defeat.
          • Reality – Reality, aka factual entertainment – is now one of TV’s most popular genres. Dating shows, celebrity, cookery and travel, 24 Hours in A&E: literally all human life is here. So we have all the reality show music you need – from uplifting and easy-going to world music, and tracks to ramp up the tension for shows like Bake Off and Masterchef, which have a competitive element.
          • Dramedy such as Succession needs a balance of music that combines both dramatic elements and comedy, depending on which accent you need to focus on in a particular scene.
          • True Crime – When it comes to true crime, with podcasts such as Serial and The Dropout – many of which have then been turned into successful TV series – production music can be crucial in adding atmosphere, suspense and emotion. True Crime may need beds and soundscapes, or even a unique theme.
          • Drama – Music for drama can span literally any genre and mood. You might want an orchestral ballad, or an intense track to soundtrack a chase sequence. On the hunt for exciting background music? Our selections are incredibly versatile.
          • Holidays – Ah, it’s time to celebrate! For the ho-ho-holidays, choose from traditional to contemporary, orchestral to big band, rock ‘n’ roll to R&B. Our Holidays playlist has everything you could possibly want to get you into the festive spirit.
          • Summer – When you’re after happy background music for videos or content, look no further than our summer playlist. Uplifting and feelgood, bring the sunshine with a popular music playlist, indie-rock and mellow alt-folk.
          • Schools Out – Whoop! Ditch the homework and park the dissertation: it’s time to kick back and enjoy yourself, with tracks that celebrate freedom and those long, fun-filled days and nights.
          • Current Affairs – From hard news to investigations and the weather forecast, our news and current affairs playlist has stings, themes and beds with pulses, tension builds, dynamic, exciting orchestra tracks and bright, positive marimba for the lighter news stories.
          • New Year – Whether you’re making resolutions or celebrating Chinese New Year, this is a playlist that’s full of positive, inspirational tracks for new beginnings!
          • Documentaries – Documentaries span everything from lifestyle features to wildlife programmes. Bring diverse stories to life with this expansive playlist, including dedicated picks for historical, international and travel-based documentaries, plus tracks to add atmosphere.
          • Trailer – There’s a real art to trailer music, and our artists and composers are some of the best in the business. These mini masterpieces are fantastic for film, TV, video and advertising. Inspiration, excitement, anticipation – these tracks have it all.
          • Promos – Short and sweet cutdowns, these are ready to be dropped straight into your project!
          • Drones – Drone footage can be truly magical, as you float high above a scene. Often, it’s accompanied by eerie or ethereal sound design with either dreamlike or mysterious feels and textures. From cinematic to minimalist and even menacing, this drones playlist has the perfect mix of moods.
          • Beds – Music beds are there mainly to add atmosphere or a particular mood. Our beds – ideal if you’re looking for background music for videos – are split into ‘light beds’ and brooding, unnerving beds to add tension.
          • Risers & Hits – Want a quick sting or hit? From a horror rise to a sci-fi zap, this playlist shows that short doesn’t always have to mean sharp.
          • Transitions – Need the perfect accompaniment to a scene change? Take your pick from this expansive playlist.

          Soundscapes

          Creating soundscapes can be a real challenge, but also one of the most important parts of dramas or movies, as Hans Zimmer explains in this explanation of how he created the soundscape for Denis Villeneuve’s Dune, including inventing instruments:

          We have a huge array of soundscapes. For something sinister and atmospheric, suitable for dystopian settings, check out our dark soundscapes, or go for an uplifting underscore with our light soundscape selection.

          Audio Network’s Key Search Tools

          We want you to be a search dynamo! By providing a super-powerful set of search tools, our platform is here to help you find exactly what you’re looking for, in just a few clicks. We also have a wide range of workflow enhancements, including the AI-powered suggested search, various types of metadata, file formats and easy offline solutions to help simplify your editing and reporting process.

          Search tips:

          • Use keywords or filters to find what you’re looking for. Enter keywords into the search field and these will appear as tags above your search.
          • With search filters you can view our most popular styles or click to show all.
          • Refine your search even further by clicking on Advanced Filters to specify track duration, tempo, BPM, key, metre and by lyrical content.
          • Use the ‘filter vocal’ option to find instrumental-only tracks.
          • Look out for the ‘E’ symbol next to track titles which identifies explicit lyrical content. These can be removed from search results in the Advanced Filters section.
          • Listen to additional tracks from the same artist or album by clicking the (...) icon next to the track.
          • Scroll to the footer of the page to see a range of music menus, artists and albums.

          Workflow Tools

          Our curated playlist hub is updated every fortnight with new music. Plus, when you need to collaborate with colleagues or clients, we have Projects, making it easy to share potential tracks. You can rate tracks and add notes, email the project details to colleagues and see all your projects in one place at a glance.

          Looking For Inspiration?

          So, now you know the basics about production music and where to find it! If you want to know what the experts think, then read our round-up of our composers’ favourite movie trailer music; or explore award-winning ads and how their soundtracks help to tell their story. You can also see how our artists’ and composers’ work is used in our regular sync updates. And if you need everything all in one easy-to-navigate place, then head straight over to our music made for sync page.

          Plus, if you’re a composer who’s looking to get your work into production music libraries, then read this guide by the hugely prolific Terry Devine-King and then learn how to submit your work to Audio Network.

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          Need Music for Your Project?

          At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

          SIGN UP

          This page was updated 28/05/2024.

          MUSIC FOR PRODUCTION: EVERYTHING YOU NEED TO KNOW Read More »

          elvis movie

          THE ELVIS MOVIE SOUNDTRACK: FULL BREAKDOWN

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            A star-studded cast, a music icon and a soundtrack to match? Biopics don’t come much bigger, better or more flamboyant than Baz Luhrmann’s Elvis. We take a deep dive into the Elvis movie soundtrack, spotting which of The King’s hits have been chosen, and the modern stars who have provided intriguing covers.

            The King of Rock ‘n’ Roll

            Director Baz Luhrmann’s Elvis explores the life and music of Elvis Presley (Austin Butler), seen through the​ prism of his complicated relationship with his enigmatic manager, Colonel Tom Parker (Tom Hanks). The story delves into the complex dynamic between Presley and Parker spanning over 20 years, from Presley’s rise to fame to his unprecedented stardom, against the backdrop of the evolving cultural landscape and loss of innocence in America. Also central to that journey is one of the most significant and influential people in Elvis’s life, Priscilla Presley (Olivia DeJonge).

            You know you’re watching a Baz Luhrmann film from the opening moments, featuring a glam, rhinestone-encrusted version of the Warner Brothers logo. The film begins with a kinetic montage in which Colonel Tom Parker, Elvis’s manager, dramatically collapses at home. His voiceover, against a stirring choral backdrop, positions him as the man who created Elvis Presley – ‘and yet, there are some who make me out to be the villain of this here story’.

            Was he guilty of ‘massive fraud and mis-management’? Was he responsible for Elvis’ death? The montage brings in scenes of gambling and prescription drug-taking, plus Elvis taking to the stage in Vegas, singing ‘Glory, Glory Hallelujah’, with a few bars of the iconic classical piece ‘Also Sprach Zarathustra’ that film aficionados will recognize from Kubrick’s 2001: A Space Odyssey spliced in for good measure.

            It is quite an opening sequence.

            Elvis Soundtrack 2022

            You want a movie with end-to-end music? Look no further than the Baz Luhrmann Elvis soundtrack – over the course of the nearly three hour-long film, there are only a few minutes which don’t feature music.

            1. Suspicious Minds – Elvis Presley
            2. Also Sprach Zarathustra/An American Trilogy – Elvis Presley
            3. Vegas – Doja Cat
            4. The King and I – Eminem, CeeLo Green
            5. Tupelo Shuffle – Swae Lee, Diplo
            6. I Got a Feelin’ in My Body – Elvis Presley, Stuart Price
            7. Craw Fever – Elvis Presley
            8. Don’t Fly Away – Elvis Presley, PNAU
            9. Can’t Help Falling in Love – Kacey Musgraves
            10. Product of the Ghetto – Elvis Presley, Nardo Wick
            11. If I Can Dream – Måneskin
            12. Cotton Candy Land – Stevie Nicks, Chris Isaak
            13. Baby, Let’s Play House – Austin Butler
            14. I’m Coming Home – Elvis Presley
            15. Hound Dog – Shonka Dukureh
            16. Tutti Frutti – Les Greene
            17. Strange Things Are Happening Every Day – Yola
            18. Hound Dog – Austin Butler
            19. Let It All Hang Out - Denzel Curry, PlayThatBoiZay
            20. Trouble – Austin Butler
            21. I Got a Feelin’ In My Body – Lenesha Randolph
            22. Ede of Reality – Elvis Presley, Tame Impala
            23. Summer Kisses/In My Body – Elvis Presley
            24. 68 Comeback Special (Medley) – Elvis Presley
            25. Sometimes I Feel Like a Motherless Child – Jazmine Sullivan
            26. If I Can Dream – Elvis Presley
            27. Power of My Love – Elvis Presley, Jack White
            28. Vegas Rehearsal/That’s All Right – Austin Butler, Elvis Presley
            29. Suspicious Minds – Elvis Presley
            30. Polk Salad Annie – Elvis Presley
            31. Burning Love – Elvis Presley
            32. It’s Only Love – Elvis Presley
            33. Suspicious Minds – Paravi
            34. In the Ghetto – Elvis Presley, Nardo Wick
            35. Unchained Melody – Elvis Presley

            The Elvis soundtrack album was produced by director Baz Luhrmann and Anton Monstead, who also worked on Luhrmann’s previous silver screen hit, The Great Gatsby. How many songs are in the Elvis movie soundtrack? Well, as you’d expect from a Baz Luhrmann project, the answer is: plenty. The online version has 36 tracks, whereas the CD contains 22, and there’s a mix of actual recordings of The King’s songs, together with tracks performed by Austin Butler.

            So far, the album has spawned five singles: ‘Vegas’, ‘Trouble’, ‘The King and I’, ‘If I Can Dream’ and ‘Tupelo Shuffle’. It’s also nabbed a nomination for the 2023 Grammy Award for Best Compilation Soundtrack for Visual Media, together with being chosen as 2022’s best soundtrack by both the Hollywood Music in Media Awards, and the American Music Awards.

            Baz Luhrmann is known for bringing together modern artists into his period dramas, from the fusion hits of Moulin Rouge! to Jay Z’s hip hop reworkings on The Great Gatsby. The Elvis soundtrack is no different, and features artists as diverse as Stevie Nicks, Kacey Musgraves, Diplo, Eminem, Eurovision winners Måneskin and Doja Cat, who sings ‘Vegas’ on the soundtrack:

            Luhrmann and Yola, who plays Sister Rosetta Tharpe, often dubbed ‘the inventor of rock ‘n’ roll’, share their thoughts on the story of Black music in America and Elvis’ cultural legacy:

            The director explained to ComingSoon.net why the film shows that, ‘no Black music, no Elvis’ and the thinking behind the Elvis soundtrack featuring a number of high-profile hip hop artists: ‘In a way, there’s a throughline into even Gatsby, because in Gatsby’s period, Fitzgerald writes about a Black street music that was very edgy and it was called jazz. And everyone thought that jazz music would be a fad. But when Jay-Z and I worked on Gatsby … [with] that kind of jazz, it’s hard to make an audience feel that this is really edgy street music. So, we translated it into hip hop. Same thing a bit with Elvis. The great thing about hip hop is it refuses to know boundaries.

            ‘With Lil Nas X doing country music as rap, it’s completely blind to any wall that might stop it from gathering and making something new. In a way, that’s what all that music is. Music is always transforming, changing itself, blending, going somewhere unexpected. I think I kind of make movies like hip hop artists make music, in a way. They take to many other forms and they make something completely new.’

            In the early parts of the film, Luhrmann shows how Gospel music affected Elvis as a child, and his connection to the style and music of Beale Street – aka The Home of the Blues. The audience is introduced to BB King, Little Richard and Sister Rosetta Tharpe through Elvis as a character, showcasing artists, Tharpe in particular, who they may not be familiar with, but whose influence on Elvis, his music and performance style were key.

            Don’t Step on His Blue Suede Shoes…

            As for Austin Butler playing a musical icon – it seems destiny played its part. The actor told Deadline that, ‘I had never heard it before in my life, but in the month prior to hearing about Baz making the film, an Elvis Christmas song was on the radio, and I was kind of just goofing around, singing along to it. And my friend said, “You’ve got to play Elvis.” But it was such a long shot, I just laughed and pushed it to the side. And then a couple of weeks later I was playing the piano, and my friend said, “I’m serious. You’ve got to figure out how you can get the rights to maybe write an Elvis film or something.” I said, “That’d be amazing, but there’s no way that that’s going to happen.’”

            A week later, his agent called and told him about Luhrmann’s film.

            ‘Well, immediately I got chills, because of the synchronicity of it all, I thought, “I got to just give it everything I got.” So, I started prepping from that day as though I was going to be making the movie.’

            The parallels are striking: Butler’s mother died when he was just 23 – the same age as Elvis was when he lost his beloved mother. And, of course, Butler can really sing like Elvis. When it comes to who sings in the new Elvis movie, the answer is that most of the tracks on the soundtrack are the original Presley recordings, but several feature Butler’s performance instead.

            Another key scene in the film is Elvis performing ‘Trouble’ at Russwood Park in front of hordes of screaming, hysterical fans, resulting in a near riot:

            This scene was also used as part of the second official trailer, positioning Elvis as a divisive cultural force, before flashing back to his first TV performance, and introducing the idea of Colonel Tom Parker controlling Presley and his career, and the love story with Priscilla.

            The trailer also includes the version of ‘Hound Dog’ sung by Shonka Dukureh in the film (playing Big Mama Thornton), plus snippets of ‘Blue Suede Shoes’ and ‘Suspicious Minds’.

            The Final Track

            What was the last song on the Elvis movie? Baz Luhrmann decided to use the footage from the final time he performed on camera, singing ‘Unchained Melody’.

            Luhrmann told Deadline that, ‘He sings the best he ever sings. It’s so moving that that’s the death scene. That’s the farewell.’ Producer Gail Berman persuaded Authentic Brands Group, who control the licensing and merchandising rights to Elvis Presley, to let the footage be shown.

            ABG were anxious because, ‘Elvis is so unattractive in it. He’s discombobulated. He can hardly put two words together.’ Austin Butler studied the footage and copied it exactly, but Luhrmann knew he still wanted to follow the biopic trope of showing the real artist at the end. So, he cut from Butler’s version to the original.

            He revealed that the sequence gets to the emotional heart of who Elvis really was: ‘there’s a moment when Elvis is singing the song and he looks to the audience and he smiles like a little boy: “Am I doing good? Am I good?” And you realise that there’s still a little boy in there trying to make up for a dad going to jail, trying to please and be loved, and have people love each other. It’s so childlike. And then we cut to the real Elvis.

            ‘I mean, we could have run through with Austin, but I knew we were going to miss the really important final thing: Austin’s humanised Elvis in a way that I don’t think Elvis has been humanised for so long. You have to remind people that it’s OK that his body was corrupt and all the discombobulation with the drugs. Inside was still this beautiful kid who just wanted to love and be loved in return.’

            The Score

            As for the rest of the incidental music, that’s down to Elliot Wheeler. Elvis is Wheeler’s third project with Luhrmann (following The Great Gatsby and TV series The Get Down). The composer familiarised himself with an astonishing number of Presley songs: 800. He told Filmspeak.net that the score includes repeated themes to denote specific characters or relationships, taking different Elvis songs and turning them into thematic stings.

            For example, ‘The Ferris Wheel’, an early scene when the Colonel is, ‘pitching the notion of becoming Elvis’ sole representative. And within that, we have their romance theme which is ‘Glory Glory Hallelujah.’ We’ve got Elvis’ theme with his mother, Gladys (Helen Thomson), which is ‘Heartbreak Hotel.’ Elvis’ theme with his audience which is ‘Unchained Melody.’ We’ve got ‘Suspicious Minds’ in there too.’

            Country singer Kacey Musgraves covers ‘Can’t Help Falling in Love’ when Elvis and Priscilla’s love story is introduced, while Doja Cat appears in a portion of Shonka Dukureh’s cover of ‘Hound Dog’.

            Wheeler also featured new music by Doja Cat to give modern audiences an understanding of what bustling Beale Street was like back in Elvis’ day. ‘For something like Beale Street, which was the most happening place for African American music in the 1950s, we were like, well, if Elvis is going down onto Beale Street now, who would he be hearing? Well, it would be Doja Cat.’

            Elliot Wheeler explained that, ‘What we’ve tried to do with this film is give [modern audiences] a take on what it must have felt like to see Elvis in his prime. There’s a nostalgia people associate with those recordings. But we’re trying to show a 21st-century audience how Elvis changed Western culture.’

            Awards

            So far, the Elvis soundtrack has been nominated for two Grammy Awards – the Best Compilation Soundtrack for Visual Media, and for Best Rap Performance (‘Vegas’). It was also the winner of the American Music Awards’ Favourite Soundtrack. The film as a whole is up for a host of Oscars, including Best Picture, Best Sound and a highly deserved Best Performance by an Actor in a Leading Role for Austin Butler. He’s already taken home the Golden Globe for Best Performance by an Actor in a Motion Picture (Drama), so it’s a movie that’s proven to be loved by both critics and fans. We’ve got the whole soundtrack on heavy repeat.

            Music That Makes Movies

            Baz Luhrmann and his team obviously had a huge array of Elvis hits to pick from for their soundtrack. Looking for movie music for your project? We have a vast choice, in every mood and genre, for you to license. Plus, there are new albums of original, high quality music released every fortnight. From drama to romance, action to comedy, and not forgetting those all-important trailers, if you’re spoiled for choice, then check out our hand-picked playlists instead.

            And for more stand-out soundtracks, The Edit has a host of picks from the silver screen, from the best Black History movie soundtracks to the most romantic movie choices (including Baz Luhrmann’s ‘spectacular Spectacular’ Moulin Rouge!)

            Need Music for Your Project?

            At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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            This page was updated 23/05/2024.

            THE ELVIS MOVIE SOUNDTRACK: FULL BREAKDOWN Read More »

            What makes a good orchestral song

            WHAT MAKES A GOOD ORCHESTRAL PIECE?

            MUSIC, OLD /
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              An orchestral song can conjure any emotion from irresistible romance to high tension. But when you’re composing, what makes for a stand-out? We’ll take you through the basics of how to write orchestral music, the parts of an orchestral song, and also give examples of great orchestral songs from our composers, and from the movies, to inspire you.

              The History of Orchestral Songs

              Orchestral songs such as cantatas and arias have been part of music since the early baroque era. However, full orchestration, enabling a song to really hold its own in a concert environment, developed from the 1840s onwards, with Liszt experimenting with orchestration, but not publishing or performing his compositions.

              He finally published his own orchestration of ‘Jeanne d’Arc au bucher’ in 1874, and the form was popularised by Mahler.

              The original orchestral songs were most commonly song cycles, such as Berlioz’s ‘Les nuits d’été’ (1856) and Ravel’s ‘Sheherazade’.

              Writing Orchestral Music

              ‘Orchestration’ can have many meanings, but in its simplest terms, it means ‘writing music for an orchestra’ and assigning the instruments to the various parts in a musical piece.

              If you want to write music for film, TV or games, or for concerts and the stage, orchestration is a vital aspect of the job.

              A good start is to have experience of performing in an orchestra, together with proficiency in music theory, harmony and ear training.

              When it comes to understanding how music creates its emotional effects, these are the critical elements to study:

              1. Melody– the effect of the single line and how composers approach writing melodies
              2. Harmony– how notes and lines sound together at the same time
              3. Form– how any section of your piece can sound like a beginning, middle, or end, and therefore how you can organise it in ways to tell your unique musical story

              And as part of this understanding, as the artofcomposing.com site says, you need to understand ‘the grammar of music’:

              ‘You need to be able to read music notation. There are many resources for learning to read music out there, and you’ll quickly find there isn’t all that much to reading music. The challenge lies more in becoming fluent, than becoming familiar.

              ‘But also part of the fundamentals are the basics of music theory. Things such as scales, triads, and seventh chords. These are your building blocks. If music notation is the alphabet, these are your words. And much like a child, you probably already have an aural knowledge of these “words”. You know what a major chord sounds like, or what a minor chord sounds like. But as a composer, your knowledge needs to go beyond the aural and superficial level. You need to understand exactly what they are.’

              What Are the 5 Elements of Orchestra?

              The symphony orchestra can be divided into five instrument families. These are:

              1. Percussion
              2. Woodwinds
              3. Strings
              4. Brass
              5. Keyboard
              • Percussion means hitting one body against another; all the instruments in this family are played by being struck, shaken or scraped and are used to provide a variety of rhythms, textures and tone colours. ‘Pitched’ percussion instruments can play specific notes (and, thus, melodies and harmonies). These include instruments such as xylophones, chimes and glockenspiels.

              ‘Non-pitched percussion’ instruments, such as sticks, drums and tambourines, can play different timbres, but not specific notes.

              • Strings have gut, wire or nylon chords stretched over, or attached to a hollow sound box (the exception being the harp). Striking, bowing, plucking or strumming the strings produce musical sounds. The violin family is the largest section in the orchestra – comprising violin, viola, cello and bass. Harp and guitar are also grouped with the string family.
              • Woodwinds are instruments which use vibration when air is blown across the top of them to create their sound. The flute and recorder use air alone to create the vibration, whereas clarinet, oboe, saxophone and bassoon need reeds to create the vibration.
              • Brass instruments also need buzzing lips, but have a mouthpiece, a long brass tube and valves – or a slide for the trombone – to change the notes.
              • Keyboards are not always seen in an orchestra, but many orchestral pieces use the piano, harpsichord or organ.

              Want to see a maestro in motion, bringing together the orchestral families, together with melody, harmony and form, whilst having a lot of fun? Watch Ben Folds composing a song live for an orchestra, in just 10 minutes:

              What Are the Parts of an Orchestral Song?

              The parts of an orchestral song can be broken down into:

              • Rhythm – the pattern of movement in time
              • Beat – the pulse of the music and how quickly or slowly it’s going (measured in beats per minute, or BPM)
              • Tempo – the speed of the beat, from slow to fast. The easiest way to measure tempo is with a metronome that clocks the number of bpm by clicking or tapping at the same speed as the music
              • Metre – regularly recurring patterns and accents, such as bars and beats
              • Melody – this is defined as ‘a coherent succession of pitches’ – when you hum, sing or play a melody, you’re performing a series of pitches/notes/tones in succession. A scale is a pattern of notes used to create a melody, most of which are either major (which sound happy or uplifting) or minor, which sound melancholy, angry or frightening

              • Harmony is the relationship of pitches as they sound simultaneously – i.e. there needs to be more than one note sounding at once. An interval is two notes sounding simultaneously and the distance between them, whilst a chord is three or more notes sounded at once. The interactions of the intervals within a chord is what creates its musical mood. Harmony can sound consonant (the pitches sound pleasant together) or dissonant (the pitches sound unpleasant together)

              Jacob Collier explains harmony in five levels, according to how familiar you are with harmonic theory:

              • Timbre – if two or more voices or instruments are performing exactly the same melody, how do you tell them apart? The answer is their timbre, or tone. The instrument’s material (wood, metal, vocal cords) and how hollow or solid it is, together with its size, all play a part in whether a sound is booming or breathy, strident or subdued, warm or cool
              • Dynamics are the degrees of loudness, from pianissimo (very soft) to fortissimo (very loud)
              • Texture is dependent on whether the music is solo or being performed in unison, or homophony – with two or more voices, where one voice is the melody, and the other voice(s) serve in support roles. This is the texture of most western classical and pop music

              Form – the overall structure of a piece of music – phrases which combine to create sections which have a similar feel. Music is composed of contrasting sections, each of which are given a letter.

              What Makes an Orchestra Sound Good?

              If you want that big, Hollywood sound, (think the The Lorne Balfe Collection), then put in plenty of brass and double bass, to create depth.

              And if you want an explainer on orchestral composition using samples, watch Christian Henson’s useful tutorial:

              How to Write an Orchestral Song

              Once you’ve mastered the basics above, it’s time to break down how to write an orchestral song into a few step-by-step elements.

              Create a Piano Reduction

              Put together your musical idea on a piano or keyboard to block out the main parts of your piece.

              This will be composed of the melody or musical motif (the main idea) and the bass line.

              Strings

              Use your strings wisely – in an orchestral piece, the strings are often the most iconic part, but they can be the most challenging element to compose for. Study a range of other composers’ works for inspiration – Beethoven’s string quartets are great examples of how to use strings.

              Less is more – a useful tip is not to write more than four parts at any given time. Work with melody, bass, a rhythmic element and some moving harmony if you need it. Add more, and you risk confusing the listener.

              Using Libraries

              Another tip is to write and sketch your music with libraries that inspire you. Grab a sound that you want to work with and carry on with your piece – it can be an experiment to learn from.

              And above all, listen to a lot of orchestral and film music! The more you listen to, and think about, music, the more expertise and ideas you’ll have.

              Learn From the Experts

              When it comes to how to write orchestral music, we’ve got a host of expert composers on tap to give their advice. We asked Debbie Wiseman to share her views on what makes a good orchestral song.

              Debbie Wiseman

              Debbie Wiseman OBE’s music has been used everywhere from films to the Coronation of King Charles III. The Grammy and Ivor Novello-nominated composer studied at Trinity College of Music and the Guildhall School of Music and Drama.

              debbie wiseman

              Debbie has credits on more than 200 film and TV productions and her orchestral music vividly brings the human experience to life. Listen to ‘Chaos’, from the suite of music she wrote to accompany Stephen Fry’s bestseller, Mythos, for a taste of Debbie’s skill in bringing and building drama in an orchestral piece.

              Debbie, What Do You Think Makes a Good Orchestral Piece?

              "It's important that the piece connects with the listener, with the structure and orchestration in perfect symmetry. There's beauty in simplicity and getting the message across in the most effective way, creating unity within the orchestral forces so that the different instruments of the orchestra complement each other.

              The layering of the sections of the orchestra should feel balanced and in perfect harmony, with everyone having space to play their part while still integrating with the orchestral sound as a whole."

              Discover More from Debbie Wiseman

              Orchestral Songs From the Movies

              Some of the most iconic movie moments are synonymous with the orchestral music that accompany them. Here are our top three picks:

              Wolfgang Amadeus Mozart’s ‘Sull’aria’ from The Marriage of Figaro - The Shawshank Redemption

              The turning point in The Shawshank Redemption comes when Andy Dufresne locks himself in the warden’s office and blasts this stunning duet through the speakers to the whole prison, transfixing the inmates. Fellow prisoner Red’s monologue tells us just how transporting opera can be:

              ‘To this day, I have no idea what those two Italian ladies were singing about… I tell you those voices soared higher and farther than anybody in a grey place dares to dream. It was like some beautiful bird flapped into our drab little cage and made these walls dissolve away. For the briefest moment every last man in Shawshank felt free.’

              Giacomo Puccini’s ‘Nessun Dorma’ from Turandot - Mission Impossible: Rogue Nation

              As an assassination scene unfolds in the opera house in the fifth Mission: Impossible film, the dark spaces, lofty walkways and hidden viewpoints backstage create the perfect set-up; wild-card Ilsa Faust (Rebecca Ferguson) is one of three assassins toting a lethal weapon – we particularly liked the repurposing of an alto flute.

              Ilsa brings a score with her to choreograph her killer shot to the crescendo molto at the end of ‘Nessun Dorma’ – all the fight sequences are expertly timed with the music’s tension and dramatic high points. It’s a brilliant use of music to create action and tension, and vice versa.

              ‘No Time to Die’ – Billie Eilish

              Singer Billie Eilish and her brother Finneas O’Connell might have recorded the title track for the most recent Bond film in their bedroom studio, but Classic FM pointed out that there are several nods to classic Bond motifs and themes, together with ‘harmonic ambiguity and Eilish’s trademark subtle layering’, which adds a touch of modern grit and strangeness.

              The orchestration begins with a haunting piano motif and then the brass brings in that classic Bond ‘sound world’, followed by the full orchestra, recorded at London’s prestigious AIR Studios. Tension builds with ostinato strings and the track uses the classic ‘Spy Chord’ – E minor Major 9 – to finish.

              There might have been numerous nods to previous theme songs, but Eilish’s trademark whispery vocals tipped fans off that this – Daniel Craig’s final outing as 007 – wasn’t going to be just any Bond film.

              The Best in Modern Orchestral

              A key element of a successful orchestral song is its quality. The orchestral tracks in our catalogue are created by the best composers, arrangers and musicians, and recorded in the best studios around the world.

              Our high-end orchestral music is perfect for film, TV and advertising – check out the latest in our Epic Orchestral collection, which is ideal if you’re on the hunt for a grand, sweeping or emotive track. Plus, we have new releases every fortnight.

              DISCOVER: EPIC ORCHESTRAL(opens in new tab)

              Need Music for Your Project?

              At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

              SIGN UP

              WHAT MAKES A GOOD ORCHESTRAL PIECE? Read More »

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