Normally in Triumph of the Heard we interview one of our success stories but this month we thought we would tell 11 stories from Heard to Licensed. Even though all the songs were chosen by the same people for the same project the stories are all very different.

(as told by the film’s Music Supervisor, Barry Coffing)

Brenda Harp
“Giver Of Mercy”

This is my favorite musical moment in the film — the “Love Scene” between the young preacher’s daughter and music minister. The director was in love with a Sarah McLachlan song and they even edited the film to one of her tracks. Needless to say some of her songs have been licensed for more than the entire budget of this film so we needed to find a replacement. We wanted something female and rootsy with religious images so when I found this track I thought, oh please let it work with picture, and boy did it. It was spiritual and sexy and right when she is in a hot embrace on the Sunday school floor it cuts to a picture of Jesus looking down and the song lyric says, “Lord of Creation.” After looking at Brenda’s bio I saw she was a worship leader and I thought, oh no I’ve got to call her because she may not want to have her song in this movie. So I left her a message but Michelle and I thought we would be finding something else. She called back and I said I want to use your song but it’s in a very edgy film. Brenda said, “What’s it about?” So I said it’s about a preacher’s daughter who has an affair with her music minister and she said, “Oh like that never happens.” I looked over at the director and gave her the thumbs up. Needless to say she agreed and we just did a cast and crew screening of a rough version and you could really hear them react.

Wayside Drive
“The Great Divide”

This is perhaps one of the most interesting stories because they had written a song called “Come Get Some” that the director loved. She wanted the lead character to sing this song in club scene. In preparation for shooting the film I got the instrumental tracks from them and I recorded a version of their song with the lead actress singing it. I did a rough shooting mix and we were ready to go. During production, it was decided to cut the entire scene and the song with it. But during the last week of finishing the film it was decided to add some great high-speed shots of the Houston skyline during a driving scene. Guess what? The song for that scene didn’t work with the new footage so Michelle suggested another one of their songs and I cut it in and it looked great. So they lost a placement when a scene was cut and got placed when some footage was added. Talk about full circle.

Barefoot Servants
“Box of Miracles”

This track is mixed down low in a 7-11 scene. We wanted a 70’s rock sound
and these guys really have it. It’s a bit
of an all-star band featuring Singer/ Guitarist Jon Butcher and world famous bassist Leeland Sklar. I hope we have
a soundtrack because this track really rocks and you can’t tell in the movie because it’s just there to add a blue collar feel to the scene.

 

Neptune Crush
“Dinosaurs In The Garden”

This is the big opening song that sets the tone for the movie. This one was found by the director using our program so I get no credit for finding this track but I did music edit this thing within an inch of it’s life. It’s during a drug trip part scene with crazy special effects so I’m turning it up & down, cutting out verses, making it sound like it playing through a door and then like it’s part of an acid trip and then part of a paranoid delusion.

 

Jonathan Clay
“Back To Good”

Jonathan is a Houston native who is now out in LA and his song has been in and out of this movie in two different places so many times I’ve lost count. It’s a great song about getting back to a good place and Lord knows this girl could use that. It plays in a long driving scene where she is going back home with her father after being busted and during a walking scene where she thinking about trying to do better.

 

 

Krome
“Makes Em Move”

The director wasn’t sure about using Rap or Hip-Hop but she wanted to show that small town kids listen to hip stuff. Krome is from Nashville and the nephew of The Fairfield Four gospel quartet, so he was raised in the church but this track sounds like a party and guess what — it plays during a party by the lake. We tried Rock and Metal but Hip-Hop won the day and Krome beat out a lot of other tracks for this spot.

 

Gael MacGregor
“We’re Hot Tonight”

Gael is not only a great singer but a music supervisor herself. Needless to say her songs get licensed a lot. This song was one of three that was presented to the director with the idea being something up, positive, female and country/real. It’s play- ing in the background of a restaurant for about 10 seconds, so don’t blink.

 

 

Gary Hill
“Looking For A Woman”

I love this guys voice because he sounds like the second coming of Johnny Cash. I submitted several of his songs for scenes in the movie and I even cut one to picture but he got beat out or passed on ev- ery time. On the last day of the mix we got to a long scene (4:08) in a restaurant and they asked where the music for this scene was. Oops somehow it never got on the list! I ran into an office with my lap- top and the director and started playing songs I said how about this guy, and the director said let’s see it. So I cut it to picture and moved it around a bit so his lyrics didn’t fight the dialogue and she approved it on the spot.

 

Albert & Gage
“I Used To Be Lonesome”

We needed something up and happy to play in the background at a restaurant where Hanna sees the music minister years later with his now pregnant wife and 4 kids. This Austin duo really hit the spot. They beat out 6 or 7 other tracks for this slot.

 

 

 

Sally Semrad
“Grace of Angels”

I had this track in a long list of cool songs for one of the driving scenes. Michelle logged on and listened to all the tracks and made notes and her note by this song was
“I Love! Love! Love! this song where can we use it?” I wrote back how about the end title? And so it is. This is the only song that was even tried and that is very rare.

 

 

Lacey Brown
“Let It Go”

We needed a second end title song and we had tried Lacey in several other spots and her stuff never worked to picture but we loved her stuff. She was a top 12 final- ists on American Idol and is signed to Tracy Lawrence’s production company. They are making a great record with her — and now she’s in this movie.