The song became a global smash for the second time, bringing in a whole new generation of fans. Then Felder had to clear it and negotiate a fee with Bush.īush, a fan of Stranger Things, watched clips of the scenes, and a deal was struck (though no one will talk about finances). The song’s notions of striving forwards with thunder in your heart resonated with the character, it could work in multiple subsequent scenes and it “had a great build”. When it came to Running Up That Hill, Felder says she needed a track for a scene in Stranger Things’ fourth season, which involved the character Max Mayfield feeling misunderstood. ![]() ![]() And sync is the holy grail.īut just how does a golden oldie hit find its way onto our TV or phone screens? The ball generally starts rolling when a TV music supervisor decides that an old song would be perfect on their show. The company’s president Bob Valentine said there are plenty of ways to bring the band’s music “back to life”. But last month they sold their songs to a company called Concord Music for £270 million. When wrinkly rockers Genesis stopped touring earlier this year, it appeared that their active career as a band was over. Springsteen, Bowie and the Beach Boys have done it. The list goes on.Īllied to the sync gold rush is a trend for old artists from Bob Dylan to Barry Manilow to sell all or part of their song copyrights to publishing companies whose purpose is to make fresh money from them. Madonna’s Material Girl, first released four decades ago, received a classical makeover in Regency bodice-ripper Bridgerton. A 1991 Nirvana album track Something In The Way entered the charts this year after appearing in The Batman. Lancashire-born Limahl’s 1984 hit Never Ending Story saw a similar uplift after featuring on Stranger Things. While this still happens, the success of Kate Bush’s sync in Stranger Things has led to a shift in focus. The emphasis for sync teams – operating within record labels and music publishing companies – used to be on breaking new artists via placements on shows such as Love Island or Made in Chelsea. Sync – which stands for synchronisation – is the process by which songs are used to soundtrack TV shows, films, adverts or online viral videos on TikTok. But today there’s a new big cheese in the music ecosystem: the TV show music supervisor. During the CD boom, labels’ so-called heads of catalogue were top dogs. Then, for a while, marketeers reigned as glossy ad campaigns determined which artists made it big. For decades, record label talent scouts – the A&R execs – were deemed the industry’s all-powerful figures. What is happening is a realignment of the traditional power structures in the music industry. We were all amazed, shocked and dumbfounded,” Felder adds with a whooping laugh. ![]() Boom!” says Nora Felder, the music supervisor on Netflix’s Stranger Things and the person responsible for sending Kate Bush’s 1985 hit Running Up That Hill to the top of the charts in 10 countries this summer, becoming Bush’s biggest ever single in the US some 37 years after it was initially released.
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