#MAGNOLIA SOUNDTRACK BILLBOARD 200 CHART HISTORY MOVIE#
Grease producer Allan Carr basically never worked in Hollywood again after this extended bit featuring a tone-deaf Rob Lowe duetting with Snow White bombed in 1989:ĭespite the long relationship between movie soundtracks and the pop charts, the overlap between Academy Award nominees and smash hits has decreased significantly over the years. (Newman, who by now is better known for his movie music than his own subversive classic albums, has scored a whopping 11 nominations and two wins.) And if the Oscars can extend careers, they can also destroy them. Especially ask Sting, U2, and Randy Newman, each of them owners of multiple nominations in this category. Just ask Peter Gabriel, Elvis Costello, Bob Dylan, and Pauls Simon and McCartney, all of whom have gotten a Best Original Song nod this century.
Writing for movies has long been a way for aging stars, old white rock guys in particular, to maintain some semblance of vitality in the mainstream.
(Let’s not dwell too long on the injustice of “How Far I’ll Go” from Moana losing to some La La Land bullshit last year, a temporarily setback on the road toward Lin-Manuel Miranda’s inevitable EGOT.) More recently, Frozen power ballad “Let It Go,” sung by Rent and Wicked star Adele Dazeem Idina Menzel, won the statuette in 2014, helping it rise to #5. The Disney songs history remembers as actual hits are almost always up for Oscars: Celine Dion and Peabo Bryson’s “Beauty And The Beast,” Bryson and Regina Belle’s “A Whole New World,” and Elton John’s “Can You Feel The Love Tonight” comprised a dominant run in the ’90s, claiming Best Original Song in three out of four years and each charting in the top 10. Songwriter Diane Warren, currently on her ninth nomination without a win, has penned some of the biggest hits in movie-soundtrack history, among them Aerosmith’s “I Don’t Want To Miss A Thing,” Trisha Yearwood’s “How Do I Live,” and Starship’s “Nothing’s Gonna Stop Us Now.” For Eminem, Pharrell, and Justin Timberlake, the Oscars have signal-boosted smash hits that had already been percolating long before the ceremony. Ditto Lady Gaga, the Weeknd, and Dreamgirls costars Beyoncé and Jennifer Hudson, even though they didn’t win. And there’s probably somebody out there who only knows Tegan And Sara for this:įor the likes of John Legend, Common, and Bond-theme singers Adele and Sam Smith ( possibly the same person), an Oscar win has been an official seal of already-implied prestige. The general public’s impressions of some career artists are largely shaped by their big Oscar moments maybe that just means Aimee Mann’s Magnolia track “Save Me” and Glen Hansard’s Once ballad “Falling Slowly” becoming their respective most-played songs on Spotify, or maybe it means Björk becoming known as the lady with the swan dress. And with the Academy Awards looming this weekend - 8PM Sunday on ABC, to be exact - we’re probably going to see a few more songs from films blowing up.Īn Oscar nomination for Best Original Song can launch a musician into the public consciousness to a radical new extent: Think Elliott Smith sharing air time with Celine Dion’s ubiquitous “My Heart Will Go On” thanks to Good Will Hunting in 1998 or Three 6 Mafia bum-rushing the podium when Hustle & Flow’s “It’s Hard Out Here For A Pimp” beat Dolly Parton in 2006. The Fifty Shades Freed soundtrack has been a top-10 mainstay as well. Maybe the cinema and the stereo aren’t connected like they used to be, but two months into 2018, blockbuster soundtracks have topped the Billboard 200 albums chart four times - two weeks for The Greatest Showman, two weeks for Black Panther.
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