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Visit our website terms of use and permissions pages at for further information. MOTHER CECILIA: I mean, I think that, along with that hidden desire, maybe, in many souls to turn to the spiritual side, I think that's what is making us a success.īLOCK: As for the success of that now-number-two album on Billboard's Classical Traditional Albums chart, Monica Fitzgibbons says.įITZGIBBONS: It just goes to show you that art is different for everybody.Ĭopyright © 2012 NPR. SIEGEL: That's Mother Cecilia, who appears on the album. MOTHER CECILIA: There's nothing like this out there on the market. The singing sisters have recorded three albums before this one, but "Advent at Ephesus" is their first with a major label and national distribution and their first number one hit. The album features Gregorian chants and traditional English and Latin hymns. SIEGEL: That's Monica Fitzgibbons, co-founder of De Montfort Music, the nuns' record label. MONICA FITZGIBBONS: I doubt that they even know what "Fifty Shades of Grey" is, much less anything in the top 200. (SOUNDBITE OF SONG "COME THOU REDEEMER OF THE EARTH")īLOCK: The new number one album is called "Advent at Ephesus" by the Benedictines of Mary Queen of Apostles - that's a group of singing nuns from Missouri. And it has spent 11 weeks on Billboard's Classical Traditional Albums chart, 10 of those in the top slot.īLOCK: But now, "Fifty Shades of Grey" has been knocked from first place by, well, a different shade altogether. James while she was writing her steamy best-selling trilogy.
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It's composed of works that inspired author E.L. I really enjoyed it.BLOCK: That's Pachelbel's "Canon in D," and it appears on one of the hottest releases of the year, "Fifty Shades of Grey: The Classical Album." The filmmakers, the studio, everybody was on the same page. They were all real fun, stressless scores - they’re not all like that. A blend of iconic romantic and spy film elements, it provided another way of understanding Anastasia’s perspective as she explores the world of the millionaire masochist Christian Grey who’s taken over her life.Īnd unlike lead actors Dakota Johnson and Jamie Dornan, Elfman didn’t need to pregame with whiskey or push-ups to go into the recording studio. But Elfman’s score deserves credit for keeping the (often overwrought) drama on screen grounded.
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Musically, the series may be best known for Beyonce’s sexed-up remix of Crazy in Love. I mean it’s not porn, it’s an erotic film but it’s like a Hollywood - it just was a genre that didn’t exist.”
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“The unique thing about Fifty Shades is that it’s kind of like popular… I don’t know how to put it. Though trying to describe what genre a BDSM-centric romance falls under, exactly, remains elusive. “When I started out with Tim Burton, almost everything I did was like that: Pee-wee, Beetlejuice, Nightmare, Batman, Edward - these are movies they couldn’t temp because there was just no music to put in there.” “It’s very difficult to find a film that has no musical predecessor that can be used as, ‘This is the kind of music that it is musically.’ “Also, I did like the fact that it was a genre that had no musical guide,” Elfman adds. Though Taylor-Johnson didn’t stay on for the two sequels, Elfman enjoyed the challenge the movies presented. “I met Sam Taylor-Johnson and had an immediate affinity for her - she’s an artist, I like her photographs, I knew who she was, and I wanted to be there for Sam.” “It was just kind of out of the blue,” he says about getting called up for Universal Pictures’ film adaptation of the popular book series back in 2014.