{"id":92884,"date":"2024-07-19T09:06:26","date_gmt":"2024-07-19T13:06:26","guid":{"rendered":"https:\/\/www.cyberlego.com\/web\/2024\/07\/19\/how-the-twisters-soundtrack-become-country-strong\/"},"modified":"2024-07-19T09:06:26","modified_gmt":"2024-07-19T13:06:26","slug":"how-the-twisters-soundtrack-become-country-strong","status":"publish","type":"post","link":"https:\/\/www.cyberlego.com\/web\/2024\/07\/19\/how-the-twisters-soundtrack-become-country-strong\/","title":{"rendered":"How the \u2018Twisters\u2019 Soundtrack Become Country\u00a0Strong"},"content":{"rendered":"<p><!-- no image --><\/p>\n<div>\n<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBy today (July 19), when Universal Pictures\u2019\u00a0<em>Twisters<\/em>\u00a0blows into theaters, more than a dozen songs from the all-country soundtrack will have whirled their way onto radio and streaming services.\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tPropelled by first single, <a href=\"https:\/\/www.billboard.com\/artist\/luke-combs\/\">Luke Combs<\/a>\u2019\u00a0muscular \u201cAin\u2019t No Love in Oklahoma\u201d\u2014 which is already No. 10 on <em>Billboard<\/em>\u2019s Country Airplay chart after only nine weeks \u2014 the soundtrack includes such new songs from such heavyweights at <a href=\"https:\/\/www.billboard.com\/artist\/miranda-lambert\/\">Miranda Lambert<\/a>, Kane Brown, Lainey Wilson, <a href=\"https:\/\/www.billboard.com\/artist\/shania-twain\/\">Shania Twain<\/a> and <a href=\"https:\/\/www.billboard.com\/artist\/jelly-roll\/\">Jelly Roll<\/a>, as well as burgeoning artists like Bailey Zimmerman, BRELAND, Dylan Gossett, Tucker Wetmore and Tanner Adell. Twenty of the soundtrack\u2019s 29 tracks are featured in the movie.\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tA soundtrack totally devoted to country songs is still a rarity and when they have occurred, they have usually been for country-themed movies, including 1980\u2019s\u00a0<em>Urban Cowboy<\/em>, 1992\u2019s\u00a0<em>Pure Country<\/em>, 2010\u2019s\u00a0<em>Crazy Heart<\/em>\u00a0or 2011\u2019s\u00a0<em>Country Strong<\/em>.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<em>Twisters,\u00a0<\/em>which stars Glen Powell and Daisy Edgar-Jones as storm chasers, is a standalone sequel to 1996\u2019s $495 million domestic-grossing\u00a0<em>Twister<\/em>, which featured a rock soundtrack. The one artist from that soundtrack who makes a return as a fun Easter egg for fans is Twain, who duets with BRELAND on \u201cBoots Don\u2019t.\u201d \u201cShe had a big song [\u201cNo One Needs to Know\u201d] from the first soundtrack, and we thought, \u2018Wouldn\u2019t it be cool if she did one for this one,\u2019\u201d says <strong>Mike Knobloch<\/strong>, president of NBCUniversal Music and Publishing.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cWe weren\u2019t trying to recreate [the original soundtrack]. In the same way that the movie is different, we treated this initially like its own project,\u201d he continues. \u201cWe worked closely with [director] Isaac Chung to conceive a music soundscape for the film that would be organic and authentic to where the story takes place, which is in Oklahoma,\u201d Knobloch says. \u201cWe got to do something we don\u2019t typically do, which is not just dabble in country music, but really lean in in an authentic way to work with Nashville writers and country artists. And not just for a song or two, but for the entire film.\u201d\u00a0<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/J6YlaeACE4E?version=3&amp;rel=1&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;fs=1&amp;hl=en-US&amp;autohide=2&amp;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tUniversal and the filmmakers met with several labels about the soundtrack, but ultimately chose to work with Atlantic\u2019s west coast president <strong>Kevin Weaver<\/strong>, who was coming off the tremendous success of the\u00a0<em>Barbie<\/em>\u00a0soundtrack, over a Nashville-based record company, and had worked on such soundtracks and original cast albums as\u00a0<em>Hamilton<\/em>\u00a0and\u00a0<em>The Greatest Showman<\/em>.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cWe know from past experiences that Kevin and his team, like us, are super-competitive and uncompromising perfectionists,\u201d Knobloch says. \u201cThey want to take big swings like we do. It just felt like Atlantic as a partner had the right attitude. Everyone on the core team [at Atlantic] has great Nashville relationships.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tLike many labels based in New York or Los Angeles, Atlantic has been signing more country artists as the genre boom continues and Weaver says the timing was perfect. \u201cI\u2019ve been trying to find a really credible good vehicle to come onboard with to curate a project within the country genre,\u201d he says. \u201cSo, this was really appealing and attractive to me. That\u2019s how we started the dialogue about how this might make sense for us together.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tA number of Atlantic\u2019s up-and-coming country artists appear on the soundtrack, in addition to BRELAND \u2014 including Sam Barber, Nolan Taylor and Morgan Ramsey.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBefore Atlantic solicited any artists, Weaver, Chung, Knobloch and Universal Pictures\u2019 executive vp of film music Rachel Levy met several times with Chung picking around up to 20 scenes for which he wanted original songs. Atlantic then began soliciting selected artists to write specifically for their scene based on the visual and a very detailed brief, which included tempo, tone and thematic suggestions.\u00a0<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/_Mb8CqKW4R8?version=3&amp;rel=1&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;fs=1&amp;hl=en-US&amp;autohide=2&amp;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cWhat\u2019s really important to me when doing [soundtracks] is making sure that the music is really a character of the movie, and we\u2019re not just trying to shoehorn songs into something for the purpose of having a soundtrack. We found that that pretty much never works,\u201d Weaver says.\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tInstead, almost every song was written expressly for the film. One of the few exceptions was BRELAND and Twain\u2019s track. \u201cI already had my song with Shania and was looking for a good opportunity to release it, and it ended up being a good fit for the film,\u201d BRELAND says. \u201cIt wasn\u2019t something we were specifically writing for the soundtrack; we were just fortunate that what they were looking for was something we already had.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBRELAND adds it was a \u201cno-brainer\u201d to get involved in one of the summer\u2019s biggest movies. \u201cI got a taste of what films can do for my career after my appearance in\u00a0<em>Roadhouse<\/em>\u00a0earlier this year, so it was a no-brainer when I heard about\u00a0<em>Twisters<\/em>,\u201d he says. \u201cThe original movie is a classic, and the trailer for this looked really good, so I was beyond excited when I found out they were interested in one of my songs for the soundtrack.\u201d\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tOne of the first artists to sign on was Wilson. \u201cWe started reaching out to artists and their teams in early January, and the momentum was incredible from the get-go,\u201d says Atlantic senior VP of A&amp;R at Atlantic, who worked alongside Weaver and the label\u2019s executive vp\/co-head of pop\/rock A&amp;R Brandon Davis and senior vp of A&amp;R and marketing Joe Khoury. Within 24 hours of contacting Wilson\u2019s manager, they showed Wilson the clip the next night following a dinner. \u201cBy that weekend, Lainey had written \u2018Out of Oklahoma,\u2019 and we instantly fell in love with the track. \u201c<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWhile there were artists whose schedules didn\u2019t allow them to participate, word quickly spread in Nashville once the music team started reaching out. \u201cEveryone seemed to be really interested and we didn\u2019t want to leave anybody out. We had this embarrassment of riches in terms of who was answering our calls,\u201d Knobloch says, as the soundtrack swelled to nearly 30 artists.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tWith so many songs, \u201cwe had to work really responsibly,\u201d when it came to keeping the music budget under control, Knobloch says. Though he declined to name the budget, he adds that \u201cpound for pound, country songs have fewer writers and samples than other genres of music, so maybe your dollars go a little bit further when you\u2019re making this kind of music.\u201d<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/1TsZH__etDA?version=3&amp;rel=1&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;fs=1&amp;hl=en-US&amp;autohide=2&amp;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cWe had artists and managers who really leaned into what we were doing,\u201d Weaver says. \u201cOne of the other things that was unique about this is [country] artists are not typically getting calls [asking], \u2018Do you want to write a song for a $100 million Hollywood blockbuster?\u2019\u00a0where pop artists get that call more frequently. This genre hasn\u2019t had this opportunity to this extent in quite some time, if forever. And so, because of that, people really want to be a part of this.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tCombs\u2019 manager says Combs was enthusiastic about taking part.\u00a0\u201cWe wanted to do this\u00a0because\u00a0it\u00a0wasn\u2019t\u00a0a remake of a classic, but a\u00a0continuation\u00a0of the narrative of the film, and we felt the movie was going to be an epic moment to be a part of,\u201d says Chris Kappy. \u201cThe team at Atlantic and Universal were very\u00a0professional\u00a0and fun to work with, and gave Luke full creative control on the song and\u00a0trusted\u00a0him \u2014 so that\u00a0makes\u00a0it easier to let the artist create.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tCombs song, which his label Sony Music Nashville is working to country radio, is also in the trailer, which helps tie the promotion and the movie together and start what Knobloch calls a \u201cchain reaction\u201d of releases, including Jelly Roll\u2019s song and video, which dropped Thursday (July 18).\u00a0The marketing campaign of dropping one song a week for the past 10 weeks\u00a0\u2014\u00a0plus a song day the week of release \u2013created a long musical runway, as well as fruitful, ongoing social media campaigns.\u00a0\u201cWe have really been activating in every possible way to make as big an impact and as much noise as possible over a longer period of time in the run up to the release of the film than usual,\u201d Knobloch says.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tAdditionally, with the staggered releases, \u201cmore songs have the ability to have their own moment,\u201d Weaver says, \u201cand when they have their own moment, they perform better typically.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tDespite country music\u2019s surging popularity these days, Knobloch stresses the goal was to make a soundtrack that is \u201cbroadly accessible,\u201d and appealed way beyond country fans. \u201cThere were a lot of times where it didn\u2019t really feel like we were making a country record,\u201d he says. \u201cWe were just making great songs with great artists and writers.\u201d\u00a0<\/p>\n<\/div>\n<\/div>\n<p><a href=\"https:\/\/www.billboard.com\/music\/country\/the-twisters-soundtrack-luke-combs-shania-twain-jelly-roll-1235734815\/\">Aller \u00e0 la source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>By today (July 19), when Universal Pictures\u2019\u00a0Twisters\u00a0blows into theaters, more than a dozen songs from the all-country soundtrack will have whirled their way onto radio and streaming services.\u00a0 Propelled by first single, Luke Combs\u2019\u00a0muscular \u201cAin\u2019t No Love in Oklahoma\u201d\u2014 which is already No. 10 on Billboard\u2019s Country Airplay chart after only nine weeks \u2014 the [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-92884","post","type-post","status-publish","format-standard","hentry","category-musique","et-doesnt-have-format-content","et_post_format-et-post-format-standard"],"_links":{"self":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts\/92884","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/comments?post=92884"}],"version-history":[{"count":0,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts\/92884\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/media?parent=92884"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/categories?post=92884"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/tags?post=92884"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}