There are so many raw and gritty feelings, and some of your thoughts go to really dark places. People put this squeaky-cleanness on teens, but really it’s gnarly as hell. No diss to Ariana Grande - I think she’s a great artist - but I can’t do that kind of magic. With nothing off limits, in terms of genre or technique, how did you start to narrow things down? What sort of approach to “teenageriness” felt outside the scope of how “Euphoria” should sound? I didn’t want things to feel too commercial. Sam was like, “What if all those people did a score?” and I was like, “That sounds like heaven.” We spoke about Danny Elfman, and especially “Edward Scissorhands.” I’ve always loved that score. We spoke about Kanye and Nine Inch Nails. He just said, “I love what you do, and I want you to do what you do on the show.”īut you must have had a general sense of the plot? No. How did Sam Levinson describe what he had in mind for the score? He didn’t describe it.
Going into Season 1, how much did you know about the show? I had no idea what it was. We talked about his evolution in Season 2 and how he figured out what “teenager” should sound like. Season 1 was his first time working on a score. Before “Euphoria,” Labrinth, 33, was best known as a pop producer. The score - which is really more like an original soundtrack - was composed by the English artist Labrinth. The soundtrack - which time-travels from Steely Dan to DMX to Baby Keem - is handled by a music supervisor named Jen Malone. What holds all this together is the music: a maximalist, genre-agnostic soundscape that includes both a licensed soundtrack and a score. The show’s creator, Sam Levinson, 37, plays liberally with flashbacks, fourth-wall-breaking asides and magical-realist fantasy.
#One thing remains chords tv
The teenagers on this show are pushing the envelope - as TV teenagers do - but here they act out with postmodern panache. Like teen soaps since the dawn of television, “Euphoria” seems to be designed primarily to shock and titillate adults, updating the time-tested tropes of the genre (cheating, revenge, domestic abuse) with a new set of even more scandalous ones (camgirls, gender, the opioid crisis). Nothing but the Blood (What Can Wash Away My Sin) Nothing but the Blood – v.Late in the age of prestige television, we’ve arrived at what is perhaps the first prestige teen drama. JOY TO THE WORLD (Chris Tomlin Version) – chord JOY TO THE WORLD (Francesca Battistelli version) Joy to the World in C Joy to the World in D I Need Your Love (fast version) I Need Your Love original version I KNOW I’VE BEEN CHANGED – lyrics and chords I KNOW THAT MY REDEEMER LIVES (Messiah) – chords I Hear God Singing to Me (in D) I Hear God Singing to Me HOW GREAT THOU ART How Great Thou Art – Carrie Underwood version – chords How Great is Our God How Great is Our God (in A) His Hands (slow version) His Hands original version
HIGHER GROUND (only you can take me) – chords Higher and Higher (your love keeps lifting me) Have Yourself a Merry Little Christmas -Shawn Colvin version HALLELUJAH – Leonard Cohen – Christmas version God Almighty Reigns – chords with sheet music God Almighty Reigns – lyrics w capo chords Glory Glory Hallelujah (Mine Eyes Have Seen the Glory) in G (Note: if a song title begins with “The” look under the “T’s” –even though that breaks the rules of alphabetizing, it was easier for me.)ġ0,000 Reasons (Bless the Lord O My Soul)ĪMAZING GRACE | MY CHAINS ARE GONE – chordsĪngels We Have Heard On High (JBC arrangement) Angels We Have Heard on High Angels We Have Heard on High (in G)ĭo You Hear What I Hear? (Third Day arrangement)Įmmanuel (Hallowed Manger Ground) – chordsĮncourage My Soul (Malcolm Turner arrangement) Some are songs I’ve written, others are from the DPI songbook, contemporary Christian or secular songs we’ve used in our worship services. doc form and simple! Obviously these are not the only way, or even the right way to do these tunes, but they represent the arrangements I usually use. Right click and “save as” to your hard drive –most are in.
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