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THE RISE OF MUSIC ALBUMS FOR MOVIE RELEASES

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    Variety picked up on a movie soundtrack renaissance way back in 2018, when albums from Black Panther and The Greatest Showman were taking over the charts and the streamers. It was a phenomenon last seen around the late 1990s, when Titanic sold millions of albums – or in 2006 when Disney’s High School Musical soundtrack launched Zac Efron’s career.

    So, how do soundtracks both enhance big screen storytelling and shape pop culture – and which are the best movie soundtrack albums of all time?

    From Silver Screen to Top of the Charts: The Impact of Movie Albums

    Movie soundtracks have been a staple since the 1920s – the first feature-length film with synchronized sound was the musical drama The Jazz Singer in 1927, which included twelve songs. Hollywood classics such as The Wizard of Oz and Singing in the Rain then cemented the popularity of musical soundtracks – and the soundtracks helped to increase the popularity of the films.

    When MTV reigned supreme in the 1980s, the vogue for filmmakers working with music artists on their soundtracks shot up a gear: 80s icons like Flashdance, Footloose and Dirty Dancing were all elevated by their soundtracks.

    And now, tech is playing its part. Kevin Weaver, the West Coast President for Atlantic Records, told Variety, ‘If you look at the last handful of years, there’s been an incredible resurgence. It feels like when the right music is aligned to the right media, especially with new means of music distribution, primarily streaming, it’s created a whole new world for soundtracks that didn’t previously exist.’

    Streaming and soundtracks also go hand in hand as, with a soundtrack such as Black Panther’s, you get a variety of different artists which then attracts a broader audience. People can pick and choose who – and what – they want to listen to. And if enough of them listen to one particular song, it can spawn a cultural phenomenon.

    Think of The Greatest Showman’s anthem, ‘This is Me’. Atlantic’s Weaver, who released the soundtrack, revealed that, ‘We knew the song was saying something really important in how it speaks to the themes of individualism. And as current affairs played out in front of our eyes, the song connected with people in a very meaningful way.’

    It’s a soundtrack that’s hit well over a billion streams as a result. Meanwhile, ‘Rewrite the Stars’, which was sung in the film by Zendaya and Zac Efron, has had an ongoing life outside the movie, with Anne-Marie and James Arthur making it a hit all over again as part of The Greatest Showman – Reimagined album in 2018.

    Panic! At the Disco released their version of ‘The Greatest Show’, Kelly Clarkson took on ‘Never Enough’, while P!nk and her daughter Willow recorded a heartfelt take on ‘A Million Dreams’. Two music albums from one movie, showcasing a huge variety of artists? That’s not only making the songs stand-alone successes, but also repeatedly putting The Greatest Showman front and centre, years after its original release, and constantly expanding its fanbase.

    Disney are experts at creating the kind of on-constant-rotation hits that engage younger audiences. Can there be many people on Earth who haven’t heard ‘Let it Go’ from Frozen? Or ‘We Don’t Talk About Bruno’ from Encanto? Disney brought on Broadway legend and Hamilton creator Lin-Manuel Miranda to guarantee the success of the Encanto soundtrack; released in 44 languages in addition to English and Spanish, it became one of only six soundtracks from animated films to hit No. 1 in the US since Billboard started publishing their top 200 weekly in 1956.

    The MCU’s Guardians of the Galaxy – Awesome Mix 1 has, according to the OfficialCharts.com, spent 500 weeks on the Official Soundtrack Albums chart since its release, demonstrating the expert art of compiling tracks which sound great while you’re watching the movie, amplify the action, personify the characters and also make for the perfect soundtrack wherever you are, and whatever you’re doing.

    More Bang for Your Buck: How Music Albums Amplify Movie Releases

    When you’ve got a blockbuster music album, you can use it to hype up your film both pre-release, and long after it’s hit screens worldwide. Take Barbie: The Album – Dua Lipa’s ‘Dance the Night’, which soundtracks the brilliant dance party sequence in the movie, became a hit the moment it was released on 25th May 2023 (the movie was released on the 21st July). So that’s at least two months’ worth of free PR, with its meta ‘This Barbie is making a music video’ visuals (including film clips), wall-to-wall airplay, over 200 million Spotify streams and immediate buy-in from Dua’s fans (she of course also has a cameo as one of the movie’s mermaid Barbies.)

    There were four more singles from the album, ‘Barbie World’, ‘Speed Drive’, ‘What Was I Made For?’ and ‘Choose Your Fighter’ – with everyone from Nicki Minaj to Sam Smith, K-Pop stars and Billie Eilish involved, that’s a huge spread of fandoms being engaged. TikTok listed Minaj and Ice Spice’s ‘Barbie World’ and Aqua’s ‘Barbie Girl’ as the songs of the summer as they’d soundtracked so many of the platform’s videos.

    Not to mention the fact that Ryan Gosling was so into his ‘I’m Just Ken’ anthem that he and Mark Ronson got together to create a brilliant version of it for the holiday season, months after the film’s release – giving Barbie yet another marketing push.

    Artists releasing brand new tracks from a movie’s soundtrack (rather than a pre-existing one chosen by a music supervisor) creates more interest in the movie. Think of the huge worldwide success of Lady Gaga’s ‘Shallow’ for A Star is Born – plus, at the opposite end of the blockbuster scale, her original song ‘Hold My Hand’ from the Top Gun: Maverick soundtrack.

    Original songs such as these can also be nominated for all the major awards – affording another opportunity to raise the movie’s profile. Gaga and co-star Bradley Cooper’s performance of ‘Shallow’ at the 2019 Oscars resulted in a hurricane of social media posts and she took home the Oscar for Best Original Song.

    How Film Music Albums Enhance Cinematic Narrative

    When you’re compiling a film music album, directors and music supervisors work together to pick both artists and tracks that can illustrate their characters, action and emotion, plus create the film’s overall feel.

    Barbie director Greta Gerwig sent Mark Ronson a playlist of music she loves for inspiration, and the pair assembled a dream list of artists they wanted to be on the Barbie album. Each of the artists who signed on to the project were shown the scene they were going to write for and were given free rein to approach the songs with their own distinct music style.

    Music plays a pivotal part in the film, as Margot Robbie told Rolling Stone: ‘You’re hearing lyrics that are responding to what’s happening onscreen, so the music became more than just music — it became a device to enhance what the audience was watching and experiencing, and got to be the voice of the audience.’

    ‘I’m Just Ken’ is a perfect example of a song that goes to the heart of a character. When Ronson read the script, he ‘instantly had this idea for this lyric: “I’m just Ken/Anywhere else I’d be a 10”. It just seemed funny. It felt a little bit emo, like, this poor guy. He’s so hot, but can’t get the time of day. It’s about this guy that just can’t get out of his own way. We all have these masks that we put on to impress people and all we really want to be is ourselves.’

    But the Barbie soundtrack isn’t short of heavyweight emotion either – Billie Eilish’s ‘What Was I Made For?’ is quietly devastating, coming at the point in the movie where Barbie is questioning everything she’s ever known about herself, and her world.

    Go behind the song with Billie’s co-composer, her brother Finneas, to find out what makes the song so compelling (and a potential Oscar winner):

    Action films can use music to illustrate and enhance too. Director Edgar Wright filled car chase thriller Baby Driver with near-constant music, and a ton of musical easter eggs. He revealed that the seed for the opening scene, a breakneck getaway set to Jon Spencer Blues Explosion’s ‘Bellbottoms’ – was sown before Wright was even a filmmaker. When he first heard it, he told Pitchfork.com that, ‘When I listen to this song, I think of a car chase – what is the movie that goes with this vision?’

    The film has soul ballads for emotional scenes and a cover of ‘Tequila’ where the drum beats are swapped for gunshots; the eclectic selection ricochets from Queen to The Damned, The Commodores to Beck, Blur and Barry White. And music drives every element of the storytelling: the characters also discuss music extensively, and artists including Flea, Big Boi and Killer Mike all make appearances.

    Unforgettable Soundtracks: The 5 Best Movie Music Albums

    Barbie

    Barbie the Album was produced by super-producer Mark Ronson and it’s a who’s who of fantastic female artists, including Lizzo, Nicki Minaj, Karol G, Ice Spice, Charli XCX, Haim, Ava Max and Billie Eilish. Plus, there’s Sam Smith, Tame Impala and Khalid. It’s got dancefloor bangers, ballads and melancholic tunes: in short, something for every Barbie and Ken.

    Oh, and if you’re a vinyl fan, you could of course buy an amazing hot pink version of the album.

    Mark Ronson was originally brought on board to produce two songs for the film, but his role expanded to executive-producing the whole soundtrack and scoring the movie alongside collaborator Andrew Wyatt. Together with director Greta Gerwig (Lady Bird, Little Women), the music team wanted to cover the whole pop landscape – from dancefloor to drill, summery reggaeton to glossy K-pop and that tear-jerking Billie Eilish ballad.

    Black Panther

    Marvel’s Black Panther is set in the fictional African nation of Wakanda and, as music remains one of the main outlets for storytelling across Africa, it was a given that it would play a major part in the movie.

    Director Ryan Coogler worked with his longtime collaborator Ludwig Göransson on the Oscar-nominated score. A separate ‘inspired by’ Black Panther album was curated by hip hop legend Kendrick Lamar. Eight songs charted on the Billboard Hot 100 just over a week after the movie’s release and the album won two Grammy Awards, one for Best Rap Performance, for ‘Kings Dead’, by Jay Rock, Lamar, Future and James Blake.

    These tracks marked the first time multiple original recordings had been used in a Marvel Studios movie and as NPR.org highlights, Lamar was, ‘as the director of its musical vision, charged with creating a universe and casting a capable team of musical avengers for the first time.’ Lamar brought together South African artists Babes Wodumo, Saudi, Sjava and Yugen Blakrok; British soul with Jorja Smith; trap, courtesy of Future, 2 Chainz, and Swae Lee and pop, through Canada’s The Weeknd. R&B, international hip hop, South African gquom – the album mirrors the movie by showcasing unity through the diversity of both its genres and artists.

    The Bodyguard

    The ultimate music album for a movie? It’s got to be The Bodyguard – still the biggest-selling soundtrack album of all time, with more than 45 million copies sold worldwide. Released in 1992, the first part features songs sung by the film’s star, Whitney Houston, whilst the second showcases artists including Lisa Stansfield, Bill Withers, Kenny G, Curtis Stigers and Anna Bartlett Warner.

    The standout track is obviously Houston’s version of Dolly Parton’s ‘I Will Always Love You’, which conquered the charts worldwide, spending 14 weeks at No. 1 on the Billboard Hot 100 Singles chart and 10 weeks in the UK and Australia. When Houston released ‘I’m Every Woman’ and ‘I Have Nothing’, she became the first female act to have three songs in the Top 20 simultaneously. The album broke numerous records worldwide – not least the one for most albums sold in a single week – it was the first to sell over a million copies in a week since tracking began.

    Pulp Fiction

    The 90s were definitely a high point in terms of music albums accompanying movies. Think Trainspotting – whose soundtrack turbo-charged the 90s Britpop scene – and obviously The Bodyguard. But the stats don’t lie: having spent over 1090 weeks on the Official Soundtracks Album chart since its release, the Pulp Fiction soundtrack beats them all, hands down, for enduring popularity.

    As well as 16 songs, the Pulp Fiction film soundtrack album featured dialogue and scenes from the movie, so that when you listen, you’re straight back in the world of Royales with cheese. The movie itself had no traditional film score – just an eclectic group of songs which majored on 60s surf music. As director Quentin Tarantino revealed, ‘It just seems like rock ‘n’ roll Ennio Morricone music, rock ‘n’ roll spaghetti Western music.’

    Tarantino was an early adopter when it came to reviving classics like ‘Jungle Boogie’ and introducing them to a brand new audience. (Something that TV shows like Stranger Things have capitalized on recently – just think Kate Bush’s ‘Running Up That Hill’.) His use of music mirrored the story he was telling and its stylized, timeless nature. The tracks he chose with music supervisor Karyn Rachtman, from Chuck Berry’s ‘You Never Can Tell’ to Urge Overkill’s ‘Girl, You’ll Be a Woman Soon’, created a very specific personality full of quirky characters and a cool ensemble cast.

    The director revealed in an interview that, ‘When I have an idea for a film, I’ll go through my record collection and just start playing songs. I guess in some ways to find the personality of the movie, the spirit of the movie.’

    Grease

    You can’t talk original soundtracks without acknowledging one of the best-loved of all-time, Grease from 1978.

    You’ve probably seen the movie a hundred times, you may even have been to see the stage show. But did you know that one of the soundtrack double album’s biggest hits was an ‘emergency song’ that was hastily written overnight to fill a gap? Yes, ‘You’re the One That I Want’ was composed by John Farrar, who presented it to Grease’s director – who hated it, but they were out of options. Olivia Newton-John, however, loved it, a choreographer threw something together on the spot, and movie history was made.

    Solo songs were written specifically for the movie’s stars – ‘Hopelessly Devoted to You’ for Olivia Newton-John and ‘Sandy’ for John Travolta, whilst early girl groups such as The Chiffons and The Shirelles provided inspiration for tracks such as ‘It’s Raining on Prom Night’. The T-Birds and the Pink Ladies were based on real-life people that the writer, Jim Jacobs, knew in high school in the 1950s.

    Originally a Broadway show, the soundtrack’s hits bridge both the 50s and the 70s – with the Bee Gees’ Barry Gibb supplying the ‘Grease’ opener sung by Frankie Valli. ‘Summer Nights’ is the perfect example of a song that sets up characters’ personalities (with Sandy and Danny’s very different takes on their summer romance), as well as the plot’s driving conflict, as is Rizzo’s solo, ‘There Are Worse Things I Could Do’, which shows her hidden, vulnerable side.

    The soundtrack went on to sell over 30 million copies and was the No. 2 bestselling album of 1978 – behind Saturday Night Fever, which of course also starred John Travolta.

    More Great Movie Music

    These are just a few of the best movie song albums from over the decades – check out the top 10 best selling movie soundtracks of all time or our rankings of the Star Wars soundtracks.

    Looking for inspiration for your own movie soundtrack? Explore our music for movies playlist, or the best in indie background music, discover our new releases, or sign up for a tailored subscription to license music.

    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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    synthwave vs vaporwave

    SYNTHWAVE VS VAPORWAVE

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      Modern life can make you desperate to dive into some comforting nostalgia, so may we present synthwave vs vaporwave – it’s the clash of the 80s-influenced microgenres that we’re very much here for. If you’re unfamiliar with these two genres, our expert guide will help you navigate the synth-drenched soundscapes to decide which one you prefer.

      Decoding the Soundscapes: Unravelling the Differences Between Synthwave and Vaporwave

      Both genres share a love for 80s aesthetics, retro-futuristic sounds and emerged around 2010. So, what are the differences between the two?

      What Is Synthwave?

      If you’re a fan of 80s style and culture (all those Stranger Things stans, we’re looking at you), then you’ll love synthwave. It’s a genre that’s heavily inspired by 1980s synth music and, much like vaporwave, was born on the internet in the early 2010s.

      What Makes a Song Synthwave?

      When you’re feeling a bit down in the dumps, then fire up a synthwave playlist – the focus is on classic 70s and 80s synth and drum machine sounds, which are light and bright. It’s got that summery feeling you get when you think of Florida, or Long Beach in California. Vintage arcades, sunsets on a beach, drive-in movie theatres? Very synthwave. It’s also heavily influenced by video game soundtracks and some iconic movie soundtracks and their composers: think Vangelis (Blade Runner), horror maestro John Carpenter and Giorgio Moroder.

      Ridley Scott’s futuristic Blade Runner (originally released in 1982) is also an important influence in terms of synthwave’s visual style, which is drenched in neon (so feel free to channel the original Tron as well).

      What were the more modern prompts for the rise of synthwave? 2011 film Drive was a frontrunner, featuring ethereal, electronic ambient music by French synthwave pioneer Kavinsky and Cliff Martinez.

      You can definitely hear where the Stranger Things theme originated, when you listen to ‘Nightcall’s intro from the Drive soundtrack. If you’re intrigued by synthwave, then check out the work of artists such as Perturbator, Miami Nights 84 and The Midnight, as well as YouTube’s NewRetroWave channel, or explore the soundtracks to Hotline Miami, Far Cry 3: Blood Dragon or Crypt of the Necrodancer.

      Synthwave is sometimes also called outrun; however, outrun can be seen as a synthwave subgenre – it’s defined by its more instrumental songs. Dreamwave focuses, as you’d expect, on chilled-out synthwave sounds – when you want to really relax, look for a dreamwave playlist on Spotify. Chillwave and dreampop are similarly mellow.

      Why is synthwave so popular? Which came first, the chicken or the egg? Did synthwave drive 80s nostalgia shows like Stranger Things, or did the terrifying-but-fun escapades of Will, Eleven, Steve, Hopper et al drive synthwave’s current popularity? As well as being nostalgic, it can’t be denied that synthwave’s aesthetic is summery and escapist – just what many of us need, given how challenging life’s been over the last few years.

      What Is Vaporwave?

      Appearing around the same time as synthwave, vaporwave is characterized by its use of sample loops from 80s and 90s music. These are often slowed down, with effects such as reverb and delay added. It’s arguably a broader sub-genre too, as it takes in psychedelia, postmodernism and avant-garde elements, with more of a DIY aesthetic. Find out how to make your own, courtesy of Adam Neely’s guide:

      The name came from ‘vaporware’ – a term for commercial software that’s announced – and even advertised, while it’s still in its design stage - but never released. Vaporwave takes new-age optimism, digital synthesis, Sims-inspired computer graphics and call centre hold music and mashes them all together with retro imagery taken from 80s and 90s pop culture.

      Musically, it’s often based on samples of easy listening or lounge music, reworked corporate stock and infomercial music – it’s sometimes described as, ‘a nostalgic view of an imagined or actual past that never really existed.’ There’s a heavy use of synths and drum machines, plus vocoders to create a dream-like quality, with slowed-down samples and pitch-shifted vocals. Vaporwave also has a philosophy: by making fun of excessive consumerism’s emptiness, it’s a satirical take on capitalism.

      Vaporwave’s pioneers were Daniel Lopatin (aka Chuck Person), whose Eccojams Vol 1 featured chopped-up 80s tunes with loops and delay and Far Side Virtual by James Ferraro, which showcased the genre’s love of computerized voices and chirpy elevator music. Esquire praised Floral Shoppe from Macintosh Plus for its ability to, ‘strike the delicate balance between being a parody of consumerism and actually really nice music to chill to.’ Vaporwave tends to be more ironic in its approach to 80s and 90s aesthetics, whereas synthwave is more sincere in embracing the 80s.

      For more vaporwave, have a listen to Blank Banshee, George Glanton, Luxury Elite and Skylar Spence.

      If you want a really deep dive of differences between these two retro-futuristic subgenres, you can explore everything from font choices (synthwave’s take their inspiration from 80s film posters and video games, often with a chrome effect; the vaporwave aesthetic apparently favours Times New Roman, as it was a staple of 90s PCs), to grids and glitch effects on the artwork.

      Want More 80s Synthwave and Vaporwave?

      Check out our albums Synthwave and Retrowave, Retro Electro Pop and some Retro Funk & Soul Grooves. Or take a deeper dive into the history of electronic music with our expert guide.

      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

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      culrpits

      CULPRITS SOUNDTRACK & REVIEW

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        Do you love a TV show featuring a gang of improbably put-together misfits, wielding guns and with a devilishly devious plan of how to remove money/jewels/tech/a McGuffin from bad people? Then the new Disney+ stand-alone eight-part series Culprits is for you. Let’s see who’s who – and what they’re stealing…

        Culprits is ideal if you’re a fan of Netflix’s international hits Money Heist, Kaleidoscope and Lupin or the kind of twisty-turny, back-and-forth-in-time storytelling that Sky Atlantic’s The Lazarus Project does so brilliantly. The series is divided up into three timelines: Before focuses on planning the heist; Then is set during the heist and Now takes us through the aftermath.

        Culprits’ USP is that, unlike most heist dramas or films like Ocean’s Eleven, you know from the start that the heist has been successful. What you don’t know is who might be tracking down the members of the crew and dispatching them in increasingly horrific ways, a good three years after they’ve got away with it.

        The all-star cast is headed up by Gemma Arterton, who’s playing villainous heist mastermind Dianne Harewood, with great élan. She’s got incredible lipstick that never budges, a bomb-proof bob and is, like all great villains, prone to setting up secretive meets in the middle of art galleries. She’s assembled a gang of elite criminals to crack an impenetrable vault in London and make off with £30 million, which they’ll all share equally before disappearing entirely and leaving their old lives behind.

        Money Heist’s members were named after cities; Culprits’ monikers are just straight-up job descriptions. Hence, our main protagonist, David (aka ‘Joe’ in the ‘Now’ sections, where he’s living a nice life in Oregon with his partner and two step-kids), played by Misfits’ star Nathan Stewart-Jarrett, is known as ‘Muscle’. He’s joined by Brain (Dianne), Soldier, Driver, Right Hand, Fixer, trigger-happy assassin Specialist (played by Niamh Algar – giving what should be a very successful audition for the next Bond film) – you get the picture.

        But who exactly is ‘Devil’ – the platinum blonde, shell-suited man in a horror-style white mask who’s now tracking down the heist members and killing them, despite their supposedly untraceable new personas and lives? And more to the point, why and on behalf of whom? Is it an inside job? Well, that would be telling, but when you know that character’s played by Peaky Blinders’ Ned Dennehy, then suffice to say you’re terrified of him even before he removes the mask; he's got a thousand-yard stare that inherently makes you want to agree to whatever he’s demanded.

        Blood Is Slicker Than Water

        Culprits is highly stylised and whips along at a furious pace – taking in locations across seven different countries from London to Norway, Barcelona to Paris, Morocco and more. There’s also some off-kilter humour mixed in with the gory killings – co-director and writer J Blakeson also wrote Prime Video’s dark comedy thrller I Care a Lot, starring Rosamund Pike, another story that took on the theme of duplicity with some uncomfortable humour. The show is based on a story anthology, Culprits: The Heist was Only the Beginning, which was snapped up by The Night Manager and The Undoing’s producer Stephen Garrett for its screen outing.

        The way the show gradually unfurls its different timelines keeps you binge-watching, without having to resort to cheap end-of-episode cliffhangers. It’s a tangled knot of secrets, lies, double-crosses, paranoia, hidden motivations and a desperate desire for the members of the gang to trust someone – anyone. Plus, some tremendous set-pieces, bold visuals and great performances, particularly Nathan Stewart-Jarrett, holding the whole thing together as David/Joe, and a raft of strong women, including Algar’s Specialist (aka ‘Psycho’), Sandman’s Kirby Howell-Baptiste as ‘Officer’ and newcomer Tara Aboud playing young safe-cracker Azar.

        The Soundtrack

        Culprits’ original soundtrack has been written by Marc Canham, who collaborated with J Blakeson on I Care a Lot. He’s also worked on the Gemma Arterton project The Disappearance of Alice Creed, and Deceit for Channel 4, a drama with fellow Culprits star Niamh Algar.

        The series’ music supervisor is Ian Neil, whose extensive career covers everything from Elton John biopic Rocketman to Kingsman: The Secret Service, Tetris, Luther: The Fallen Sun, Lockwood & Co and 1899.

        Before becoming an independent music supervisor, Ian Neil was Head of Film and TV for Polygram Records, and during his tenure there, one of his first big films, Lock, Stock and Two Smoking Barrels, resulted in a double platinum soundtrack.

        His needledrop choices for Culprits are definitely underpinned by an expansive knowledge of the music industry, covering 80s classics by Fun Boy Three and The Cure, dance tracks from Basement Jaxx and Robin S., together with genres spanning everything from Afrobeat to rap, psychedelic and alt-rock, with even a dash of classical orchestral to reflect not only the characters but also the locations they find themselves in.

        Here’s the full rundown of all the tracks used on the Culprits soundtrack:

        Episode 1

        • ‘Move Your Feet’ – Junior Senior
        • ‘Hot Topic’ – Le Tigre
        • ‘The Traitor’ – Menahan Street Band
        • ‘Our Lips are Sealed’ – Fun Boy Three
        • ‘Stitches’ – Allele
        • ‘Politicians in My Eyes’ – Death
        • ‘Show Me Love’ – Robin S.
        • ‘Romeo’ – Basement Jaxx
        • ‘Kulture’ – Ketso SA

        Episode 2

        • ‘Water No Get Enemy’ – Fela Kuti
        • ‘Kimbo’ – Sticky Noodles
        • ‘Trick Me’ – Kelis
        • ‘The Four Seasons – Spring’ – Vivaldi, performed by Anthony Newman, Cho-Liang and Sejong
        • ‘Ain’t that Close to Me’ – Night Fevers
        • ‘Got’ – Mos Def
        • ‘Keep on Movin’ – Soul II Soul

        Episode 3

        • ‘Got to Be Real’ - Cheryl Lynn
        • ‘Sing it Back’ - Moloko
        • ‘The Less I Know the Better’ – Tame Impala
        • ‘I am the Black Gold of the Sun’ – Rotary Connection and Minnie Riperton
        • ‘Burn in Hell’ – Twisted Sister
        • ‘Mr Sandman’ – The Chordettes

        Episode 4

        • ‘3am 7arib (I am Fighting)’ – Malikah
        • ‘I Changed My Mind’ – Lyrics Born & The Poets of Rhythm
        • ‘Im-Bim-Billilah’ – Mashrou’Leila
        • ‘Girlfriend’ – Christine and the Queens
        • ‘Marie Moi’ – Agathe & Regrets

        Episode 5

        • ’88 aka Come Down on Me’ – Lemon Jelly
        • ‘La belle et le bad boy’ – MC Solaar
        • ‘Do you Mind?’ – Temzii
        • ‘Love Me or Leave Me’ – Band of Thieves
        • ‘Nowhere to Hide Now’ – Ghostpoet
        • ‘E Talking’ – Soulwax

        Episode 7

        • ‘Protein’ - Jeshi (feat. Obongjayar)

        Episode 8

        • ‘I am the Black Gold of the Sun’ – Rotary Connection and Minnie Riperton
        • ‘Ever Fallen in Love’ – Buzzcocks
        • ‘Closer to the Stars’ – Geneva
        • ‘Lovesong’ – The Cure

        For more behind the scenes insight into the show, watch this interview with Culprits creator J Blakeson and Alex Zane, covering Stephen Garrett’s early career on Spooks and Hustle, the cast, the challenges of securing your dream location and how shot selection can be crucial in building tension.

        Cool & the Gang

        Can’t get enough of shows featuring gangs? Read our review of Yellowjackets, or if literary adaptations are more your thing, then of course there’s The Fall of the House of Usher.

        And if you need music to license for your TV show, then look no further than our hand-picked kick-ass women playlist to channel Dianne, The Officer, The Specialist, and safe-cracker Azar, or our drama, comedy or dramedy playlists for more small-screen tracks.

        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 last updated 03/09/2024.

        CULPRITS SOUNDTRACK & REVIEW Read More »

        festival music trends

        THE FESTIVAL MUSIC TRENDS OF 2023

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          Vogue may have picked out cowboy boots, disco sparkle and ‘haute hiking gear’ as the key festival trends 2023, but what about the music? The music festival industry is emerging from a period of pandemic turmoil that virtually shut it down for two years, and still faces a host of challenges. Take a deep dive into which music genre trends came to the fore in 2023, together with eco-friendly initiatives, tech and the sheer variety of festival experiences that are shaping the music scene worldwide.

          Music Trends

          Nostalgia’s been big business when it comes to festival music trends in 2023: there’s been a resurgence in music from different eras as varied as 80s pop, 1990s R&B, 2000s emo and early hip hop (especially as the latter was celebrating its 50th anniversary in August.)

          Glastonbury 2023 saw not one but two cracking sets from 80s pop hero Rick Astley, who was making his Worthy Farm debut and went down an absolute storm. Other Glasto 2023 acts who have straddled the decades included headliners Guns N’ Roses, The Pretenders and, of course, the Rocket Man himself, Elton John. The Sunday night Pyramid stage headliner (also making his first Glastonbury appearance) drew a monumental crowd, both at the scene and on TV for what turned out to be a truly epic performance.

          Why are audiences tapping into nostalgia? It’s probably down to late millennials/Gen Zs discovering the 80s and 90s through musicians such as Harry Styles and Dua Lipa, both of whom are referencing those decades (Dua Lipa’s Future Nostalgia has the clues right there in its title.) Rick Astley returned the favour, covering Styles’s ‘As It Was’ during his Sunday lunchtime set, before joining forces with indie darlings Blossoms for a set of Smiths covers later on.

          A burst of new wave and goth nostalgia was unleashed at Cruel World in California, with Siouxsie Sioux, Iggy Pop, Echo & the Bunnymen, the Human League, ABC, Billy Idol and Gary Numan taking to the stage.

          Also in the US, the Just Like Heaven festival – a joyous, mid-2000s time warp - returned for its third edition in Pasadena in May, featuring the Yeah Yeah Yeahs, Future Islands and MGMT, Peaches and the Walkmen.

          Lollapalooza began in 1991, founded by Perry Farrell of Jane’s Addiction. The festival curates an eclectic lineup each year; 2023’s artists were lead by EDM acts (23%), whilst pop acts skyrocketed from 15% last year to 20% this year. Rock, however, was on the decline at Lollapalooza, Bonnaroo, where the share of acts has halved in a decade, and Coachella. However, the genre was holding strong at this year’s Austin City Limits (ACL) with 19% of the lineup, only outdone by Alternative music, which formed 26% of the ACL acts.

          Dive In

          Immersive experiences were a big trend this year. Dream Valley in August promised, ‘One amazing day. One starry night. Thousands of dreamers. And you’ as they fused dance music with immersive experiences. EDM, stunning backdrops and live immersive shows were the name of the game at Bright Festival Connect, an international cooperation project that brings together communities, artists, design studios, institutions and local organisations. This year’s event boasted over 160 hours of events and music performances. Book your tickets to Leipzig in Germany if you fancy going next year.

          FLO London’s Colourscape billed itself as ‘an immersive festival of colour and sound’, with festival goers encouraged to ‘embark on a journey through vibrant tunnels and musical wonders, for a sensory journey like no other.’ Intriguing…

          Spending so long on Zoom has meant that many festivals have not only embraced tech, but are looking to use it to investigate how we engage with each other. Plus, festivals are now including everything from costume parties to cooking demos, yoga lessons and seminars to interactive zones with a focus on social awareness and health.

          Double Up

          Who says you just have to have one venue, or one weekend for your festival? Spreading out events across two weekends, or staging a series of club nights can double your audience (or make crowds more manageable at each venue.)

          Genre-centric festivals don’t come much bigger than pioneering EDM festival Tomorrowland. Belgium lit up across two weekends in July – 16 stages hosted more than 750 artists, including Amelie Lens, Eric Prydz and Lost Frequencies.

          Coachella 2023 was another big-name festival with two weekends to choose from, back in mid-April in Indio, California. The headliners were Puerto Rican rapper Bad Bunny (Coachella’s first Latino and Spanish-language headliner), K-pop sensations Blackpink (the first Asian and all-female group to headline), pop-punkers Blink-182, Frank Ocean, Skrillex, Four Tet and rising Brit star Fred Again. A drive for increased diversity by the organisers saw performances by Punjabi artist Diljit Dosanjh, together with acts fully sung in Arabic – the Guardian hailed ‘a record-breakingly diverse and multi-lingual set of acts [which] helped give this year’s desert festival a more contemporary feel.’

          Plus, there were big sets from female artists including Charli XCX, supergroup Boygenius (Phoebe Bridgers, Lucy Dacus and Julien Baker) and Rosalia – not to mention the legendary Blondie and the always unpredictable Björk.

          Come Together

          Hybrid festivals are another trend on the rise this year. Art and music are the most common combinations, but TodaysArt in the Netherlands showcases an array of experiences, performances and installations bringing together electronic music, audio-visual and immersive art and ‘creates new sensory experiences.’

          Elevate in Graz, Austria, brings together cutting-edge music, art and political discourse from geopolitics to psychology and behavioural research, activism to artistic practice, digital issues to climate protection.

          Virtual Music Festivals

          Ever-evolving technology means that virtual music festivals are opening up access to audiences around the globe. The 2023 Decentraland Music Festival was a 3-day extravaganza that showcased over 80 music performances, plus games, dynamic experiences and 3D installations – anyone could join at Decentraland.org as a guest in its virtual space, which is owned and run by its fellow users.

          Previously, the Metaverse event has showcased more than 300 international artists, including Björk, Megadeth, and even Motörhead.

          The Aspen Music Festival’s livestream lineup in July and August saw eight classical concerts being broadcast live and available to view on their Virtual Stage.

          Could Metaverse gigs be the future – and can a Metaverse music festival be far off?

          What Else Has Changed?

          In terms of the practicalities of getting to, into and around festivals, the pandemic changed things both for festival organisers, and for the fans attending them. Dominic Perez-Silva, Senior Partnerships Manager at Eventbrite, noted that maintaining visitor safety requires making ticketing and admissions as simple as possible, leading to everything from digital tickets to set entrance hours to facilitate crowd control. ‘Throughout the pandemic, venues, festivals, and promoters alike have been “forced” to consider contactless events, to go cashless, and to implement timed entries.’ This means visitors have clear, succinct information – and hopefully cuts down on un-ticketed entry.

          Tech innovation also means more synced viusals, lasers and pyrotechnics than ever before at music festivals – together with, hopefully, better sound quality.

          There’s also an increasing focus on sustainability efforts – this year, all of Glastonbury Festival’s power was supplied by renewable energy and renewable fuels. All the Festival site’s generators, including those that power the Pyramid Stage, ran on sustainable, renewable palm oil-free HVO fuel, made from waste cooking oil, helping to reduce lifecycle CO2e emissions by up to 90%. Mind you, Glasto’s Green Fields have run on solar, wind and even pedal power since 1984, so you’d expect them to be leading the way when it comes to sustainability.

          The organisers have also banned the sale of single-use plastic drinks bottles, and since 2019, 99% of all tents and camping equipment has been taken home after the Festival.

          Green Gathering in Monmouthshire is a family-friendly fest that won the 2023 International Greener Festival Award for its use of 100% renewable power, veggie food, upcycling workshops and more.

          The iconic Isle of Wight Festival is the home of huge headliners, hot new acts, comedy, cabaret, cinema and kids’ activities. They’re also committed to environmentalism, using a local biogas firm to generate electricity from the turf on the festival site, pledging to be zero-waste and donating their water pipes to local farms. (You can even reduce your carbon footprint as you travel there: Big Green Coach runs carbon-neutral shuttles from around Britain.)

          Get That Festival Feeling

          We may all be dreaming of next spring and summer’s festivals, but you can recapture the elation of being out in a field surrounded by like-minded fans with our hand-picked playlists. Tap into that festival feeling with a festival lifestyle collection, or recreate an electro indie festival in your own sitting room (the drinks and snacks are probably cheaper...) Plus, we’ve got new releases every fortnight, so create an account to license our original music.

          Alternatively, relive the top Glastonbury 2023 moments, from The Churnups to Elton John, and discover the evolution of Tomorrowland, Europe’s premier EDM festival.

          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 24/05/2024.

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          jazz soundtracks

          JAZZ SOUNDTRACKS: THE ULTIMATE ROUND UP

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            Jazz has a mind of its own – it ebbs and flows in any way it pleases. To add a jazz soundtrack to a film, a filmmaker must embrace the raw, unpredictable nature of the genre and allow it to reflect the labyrinthine reality of the human experience.

            To understand how jazz soundtracks enhance some of the most outstanding films in history, we’ve rounded up the 10 best jazz soundtracks. Keep reading to discover the entire list, and make sure to look out for links to our production jazz playlists.

            Top 10 Jazz Soundtracks

            1. La La Land (2016)

            To us contemporary film buffs, Damien Chazelle’s La La Land is the first flick that comes to mind when discussing jazz films. The American musical is fundamentally Chazelle’s love letter to Hollywood and, in turn, an ode to the city’s jazz foundations. Deservedly, Justin Hurwitz – the film’s composer – took home an Academy Award for Best Original Score for his efforts.

            2. Cabin in the Sky (1943)

            Filmmakers have been using jazz to immerse silver screen audiences for years, and the earliest example to make it to our roundup is 1943’s Cabin in the Sky. Based on a 1940 Broadway musical of the same name, the film – featuring an all-Black cast – sees God and Satan go head to head for the soul of a weak gambling man who goes by the name of Little Joe.

            3. St. Louis Blues (1958)

            In 1958, Paramount Pictures gathered some of the biggest stars of the 50s jazz scene – including Ella Fitzgerald, Nat King Cole and Cab Calloway – to create a film loosely based on the life of W.C. Handy. Naturally, the soundtrack to the film is stunning. See the clip below to watch Nat King Cole and Eartha Kitt duet in the black and white classic.

            4. Bird (1988)

            If you’re a jazz fan and have never seen Clint Eastwood’s Bird, then shame on you. Starring Forest Whitaker as the eponymous American Jazz saxophonist (Charlie ‘Bird’ Parker), the film is a bona fide classic that’s chock-full of emotion and memorable jazz moments.

            5. Joker (2019)

            In 2019, Todd Phillips and Joaquin Phoenix presented their masterclass in origin stories. Joker – based on the world-renowned DC Comics villain – is more Martin Scorsese than MCU, and for that, we love it. Unexpectedly, Phillips incorporated some of the most well-known jazz tracks into his 1981-set super villain spectacular – most notably, Frank Sinatra’s ‘That’s Life’ and Jimmy Durante’s ‘Smile’.

            6. Monster’s Inc. (2001)

            Pixar’s animated films are as much for adults as they are for children, and one of our favourite things  about their 2001 hit Monster’s Inc. is its incorporation (see what we did there) of original jazz music. Prepare to be hit with a wave of nostalgia when you check out the clip of the smooth jazz Monster’s Inc. theme tune, taken from the Grammy and Oscar-nominated soundtrack.

            7. Soul (2020)

            In 2020, Pixar took its love affair with jazz music to the next level by creating a NYC-set film that pivots around a jazz pianist named Joe Gardner. Titled Soul, the film highlights the importance of one’s passion – in Gardner’s case, jazz – to one’s purpose in life; as you can imagine, there’s some incredible soulful jazz music to be heard.

            8. Alfie (1966)

            You might know Michael Caine as Alfred Pennyworth, but we know him as cockney womaniser Alfie Elkins. Lewis Gilbert’s 1966 film, entitled Alfie, is a romantic comedy-drama film complete with a jazz soundtrack that features legendary saxophonist Sonny Rollins.

            9. The Princess and The Frog (2009)

            In our opinion, The Princess and The Frog is top tier Disney. The 2009 animated musical takes place in the birthplace of jazz during the golden age of the genre. Aptly, the film is inspired by a jazzy soundtrack. From the word go, the film pays homage to New Orleans jazz culture. Just take a look at the title scene below.

            10. Green Book (2018)

            At the 91st Academy Awards, Peter Farrelly’s Green Book – a film that focuses on jazz pianist Don Shirley – won the Academy Award for Best Picture. The Green Book soundtrack (released by Milan Records) features Kris Bower’s jazz-centric score and songs from the era, including songs by Don Shirley, all of which transport the listener back to the 60s.

            Our Jazz Music Selection

            Want to listen to a little more jazz? From classic and contemporary jazz to the deepest, darkest funk, we’ve got it all here at Audio Network.

            Over on our discover jazz page, you can find enough jazz music to last you a lifetime. Choose from exploring our jazz selection via our selected albums, carefully curated jazz playlists or our jazz artists and composers.

            Want to use some of our jazz music in your next project? No worries! All of the tracks you find in our catalogue are ready and waiting to be used by you. Find out everything you need to know about downloading one of our tracks on our Downloading Background Music page.

            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

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            This page was updated 21/05/2024.

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            classical music in video games

            CLASSICAL MUSIC IN VIDEO GAMES

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              Games are now a multi-billion dollar business and the music within them is a huge part of the player experience. So how, if at all, is composing music for video games different from any other form of media?

              Designing A Soundtrack

              When composing, this can often mean ignoring conventional song formats and deconstructing music to its component layers, which can then be interchanged, overlapped or entwined, depending on the needs of the narrative.

              When starting on a project, the composer can be shown anything from an almost fully functioning, playable version of the game, to a few mock-up artwork sketches and a short description of the story. A lot depends on how early a composer is brought in on the development process and also how integral the music will be to the player’s experience.

              When you’re watching a film, the story is linear. You watch different shots, edited and placed in a set order, accompanied by pre-defined musical cues. Within a game, however, the player is, to varying degrees, much more in control of how the story plays out. So the music needs to adapt to the player’s choices within the narrative.

              The composer talks to the developers about what emotions they want to evoke from the player and also, where possible, they play the latest version of the game.

              If You’re Looking For Inspiration for Video Games Music, Check Out These Tracks:

              ‘Mysteries’ – Richard Lacy, Sarah MacDonald

              ‘Space Battalions’ – James Brett

              ‘Hardware’ – Gareth Johnson

              ‘Suspicion’ – Joe Henson, Alexis Smith

              ‘Reanimate’ – Tom Boddy

              music for games

              Awards for Video Game Music

              In 2012 Journey became the first ever video game to be nominated for a Grammy for its score, proving that game music is now celebrated for its quality and popularity outside of the games industry.

              Although approached in a slightly different way from more traditional media, music in games is as important as ever and can no longer be considered an afterthought, but as an integral part of the player experience.

              Where Modern Meets Classical

              But can video games music actually teach you about classical orchestral music? A poll by the Royal Philharmonic Orchestra suggested the answer is yes. The orchestra’s managing director James Williams told the Telegraph that computer games are an important ‘access point’ for young people to experience classical music for the first time:

              ‘It is encouraging to hear that there are platforms and opportunities for young people to engage with orchestral music, albeit in different mediums. It is about sparking their interest’, Williams said.

              ‘What we are finding is once we have lit that fire there is a real desire to carry that journey on and explore. If [computer games] are the trigger and the catalyst that can only be a really positive thing.’

              Children aged six to 16 were asked about how they experience classical music; around one in six said they listened to it, ‘when it’s part of a computer game I’m playing.’

              Video game music now regularly features in Classic FM’s annual countdown of the nation’s favourite classical music, the Classic FM Hall of Fame – and the station teamed up with the RPO to present Playstation in Concert, a night at the Royal Albert Hall dedicated to playing computer game music. Plus, the station has a regular show dedicated to video game music, High Score, hosted by video games composer Eímear Noone – who also happens to be the first woman to conduct at the Oscars (in 2020).

              Winifred Phillips, a composer known for her work on games such as Assassin’s Creed III: Liberation, thinks that games music is, ‘essentially a form of contemporary classical music, but it has a connection with a more immediate contemporary culture, so that it’s more identifiable, accessible to a more mainstream audience.’ Her music for Assassin’s Creed, for example, has a definite baroque feel to it.

              West Australian Symphony Orchestra ex-principal conductor Paul Daniel believes that the best video game scores, ‘reference great symphonic composers like Wagner, Mahler, Shostakovich, Holst and John Williams’.

              Similarly, many of the most celebrated Japanese video games composers have revealed that they’ve been influenced by classical composers in the same way. Pokemon’s Junichi Masuda, who cites Stravinsky and Shostakovich as inspirations, to, ‘the Beethoven of video game music’, Nobuo Uematsu, who based the lyrics for the intro to 'One-Winged Angel' from Final Fantasy VII on the medieval poetry Carl Orff used for Carmina Burana.

              Which Games Have Used Classical Music?

              Not all games use music that’s been specifically composed for them. Here are some favourites which beg, borrow and steal from the classical canon.

              Eternal Sonata

              For a true games/classical music mash up, look no further than Eternal Sonata – an RPG inspired by the life and work of 19th Century composer Frederic Chopin (he’s even a playable character). In a fictional retelling of his death, the action unfolds in Chopin’s mind in the final moments before he succumbs to tuberculosis. He joins a band of characters doing battle with evil characters and creatures, with the game’s eight chapters based on various Chopin compositions - the final battle has a remixed version of his Revolutionary etude.

              The Evil Within

              Made by the creator of the Resident Evil series, this is a haunting journey with sinister apparitions and horrifying monsters. But any time you catch a few bars of Debussy’s Clair de Lune, you can rest assured there’s a ‘safe haven’ nearby. Though hearing it played on what sounds like a very scratchy gramophone keeps the tension subtly ratcheted up.

              Resident Evil

              Talking of Resident Evil, in the original game, one of two possible characters plays a passage from the first movement of Beethoven’s Piano Sonata No. 14 in the Raccoon Forest mansion.

              Bioshock

              The first game was released in 2007 and was praised for its storytelling; 2013’s Bioshock Infinite has a brighter and more vivid aesthetic than its predecessors. The player character visits the memorial of Lady Comstock in the Hall of Heroes, where a section from Mozart’s Requiem echoes through the space…

              Valiant Hearts: The Great War

              This rare video game exploration of the First World War features a beautiful original soundtrack, together with humorous classical music cuts during its car chase sequences. These include Brahms’ Hungarian Dance No. 5 and Offenbach’s Infernal Galop (better known as the music for the Can-Can).

              Kingdom Hearts

              The Kingdom Hearts franchise draws on numerous Disney properties – Dream Drop Distance visits the universe of the classical music film Fantasia and features the iconic role of Mickey Mouse as The Sorcerer’s Apprentice, with Paul Dukas’s famous work of the same name. Kingdom Hearts also draws from Fantasia’s final scene for a battle soundtracked by Mussorgsky’s Night on Bad Mountain.

              Earthworm Jim 2

              Our hero is forced to float through the intestines of an unknown entity as a blind cave salamander. Which, of course, could only be soundtracked by a spectacularly tinny chiptune version of Beethoven’s Piano Sonata No. 14. The end of the game brings in Beethoven’s third movement rondo.

              Tetris

              For a similar old skool frantic 8-bit electronic earworm, look no further than Tetris, who used Tchaikovsky’s 'Dance of the Sugar Plum Fairy' from The Nutcracker. Want to feel even more crazed? If you fall behind, the game ramps up the speed of the piece…

              Music for Games

              From futuristic grooves to 8-bit computer melodies, discover a huge of music for games, perfect for your production right here at Audio Network.

              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

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              STAGE-NAME

              HOW TO COME UP WITH A STAGE NAME

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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!

                SIGN UP

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

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                DISNEY MUSIC

                THE BEST DISNEY SONGS OF ALL TIME

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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.

                  FIND YOUR PERFECT SOUNDTRACK

                  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 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.

                    DISCOVER: MUSIC THAT RESONATES

                    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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                    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!)

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                      This page was updated 23/05/2024.

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