"Fifty Shades Of Grey" Soundtrack Lyrics

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"Fifty Shades of Grey (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

Can a compilation outshine its movie? Here, the answer was often “yes.” The album blends sleek R&B, indie covers, and vintage crooners with Danny Elfman’s cool, minimalist score. It functions as both marketing engine and narrative glue, with two global hits—The Weeknd’s “Earned It” and Ellie Goulding’s “Love Me Like You Do”—carrying the film’s romance from private rooms to public charts. Trusted source: TIME magazine.

Republic Records released the set on February 10, 2015, with a separate Elfman score album the following week. Music supervision focused on new, scene-tailored material (Beyoncé’s 2014 “Crazy in Love” remake; Sia’s bespoke “Salted Wound”) alongside needle-drops that telegraph class and control (Sinatra’s “Witchcraft,” the Stones’ “Beast of Burden”). Trusted source: Wikipedia (soundtrack).

Questions & Answers

Who composed the score and who supervised the songs?

Danny Elfman composed the score; Dana Sano led music supervision on the film.

Are there two albums?

Yes. A various-artists OST (Republic Records, Feb 10, 2015) and Fifty Shades of Grey (Original Motion Picture Score) by Danny Elfman (released days later).

Which songs became hits?

The Weeknd’s “Earned It” and Ellie Goulding’s “Love Me Like You Do” both peaked at #3 on the U.S. Hot 100 and topped multiple international charts.

Did “Earned It” win major awards?

Yes. It won the Grammy for Best R&B Performance and was nominated for the Academy Award for Best Original Song.

Are the trailer songs actually in the movie?

Yes. Beyoncé’s “Crazy in Love (2014 Remix)” and the Michael Diamond remix of “Haunted” appear on the album and are used in promotion; both are heard in the film.

Is there classical music in the film?

Yes—Chopin’s “Prelude in E minor, Op. 28 No. 4” appears, plus Elfman’s piano-centric cues.

Notes & Trivia

• The OST debuted at #2 on the Billboard 200 with 258k units—biggest soundtrack bow since 2009.
• “Earned It” appears twice in the film (album note echoed by label commentary).
• Target’s deluxe CD added tracks like “Rude” and “Call Me.”
• Sam Taylor-Johnson directed the “Earned It” video, tying visuals to the film’s aesthetic.
• The OST finished among 2015’s global top-sellers.

Genres & Themes

R&B slow-burn + chamber strings → seduction with control: “Earned It” marries velvet vocals to restrained orchestration; desire framed as ritual.

Electropop power ballad → awe/escape: “Love Me Like You Do” scores aerial dates and emotional lift-off.

Vintage pop standards → surface polish vs. vulnerability: Sinatra’s “Witchcraft” codes moneyed elegance as a mask for intimacy.

Indie/alt covers → reframing classics: AWOLNATION’s “I’m on Fire” and Annie Lennox’s “I Put a Spell on You” tilt familiar songs into darker hues.

Tracks & Scenes

“I Put a Spell on You” — Annie Lennox
Where it plays: Opening titles over Christian’s morning routine; non-diegetic.
Why it matters: Announces the film’s luxe-goth mood in one breath.

“Undiscovered” — Laura Welsh
Where it plays: Ana and Kate in their apartment after the very first interview; non-diegetic.
Why it matters: Softens the cut from corporate steel to student life.

“Meet Me in the Middle” — Jessie Ware
Where it plays: Ana and Christian walk in on Kate and Elliot on the couch; non-diegetic.
Why it matters: Tender, slightly embarrassed intimacy for a side-couple beat.

“Love Me Like You Do” — Ellie Goulding
Where it plays: Helicopter flight to Seattle; non-diegetic (date montage).
Why it matters: Aerial romance theme—expansive synths sell the sweep of escape.

“I’m on Fire” — AWOLNATION (Bruce Springsteen cover)
Where it plays: At Escala before Ana’s first visit to the Red Room; non-diegetic.
Why it matters: Yearning simmer; a modern cover telegraphs risk without nostalgia haze.

“Crazy in Love (2014 Remix)” — Beyoncé
Where it plays: First entry into the playroom; non-diegetic.
Why it matters: A familiar hit slowed to a prowl; power recontextualized.

“Witchcraft” — Frank Sinatra
Where it plays: Private dance in Christian’s apartment before a family dinner; diegetic (on system).
Why it matters: Old-school charm as foreplay to negotiation and boundaries.

“One Last Night” — Vaults
Where it plays: Glider date sequence; non-diegetic.
Why it matters: Weightless synth-strings mirror literal flight and tentative trust.

“Beast of Burden” — The Rolling Stones
Where it plays: Morning-after kitchen/pancake scene; diegetic (on speakers).
Why it matters: Looser body language; levity inside the power dynamic.

“Salted Wound” — Sia
Where it plays: Early love scene as the couple first cross a line; non-diegetic.
Why it matters: Whispered intensity tracks consent, curiosity, and trepidation.

“Haunted (Michael Diamond Remix)” — Beyoncé
Where it plays: Ana’s new apartment beat (“It was nice knowing me?”); non-diegetic.
Why it matters: Slick menace for a moment of doubt.

“Where You Belong” — The Weeknd
Where it plays: End-credits rotation with other cuts; non-diegetic.
Why it matters: Keeps the OST’s R&B signature running into the exit.

“Earned It” — The Weeknd
Where it plays: Late-film and end-credits usage; non-diegetic.
Why it matters: The franchise’s calling card—string-led restraint instead of bombast.

Classical drop: Chopin’s Prelude in E minor (Op. 28 No. 4) — heard diegetically; Christian at the piano.

Also noted in scene guides but not on all retail editions: “Call Me” (St. Paul & The Broken Bones), “Tribe” (Theophilus London), “Rude” (RoccStar), “She’s on Fire” (Bo Saris).

Music–Story Links

R&B cuts frame intimacy as earned, not assumed—pacing and strings keep control at the center. Vintage standards stage wealth as mood lighting; when Sinatra spins, the room is a set piece. Elfman’s cues thread consent, curiosity, then recoil; you feel boundaries tighten or loosen depending on harmony vs. pulse.

How It Was Made

Universal “eventized” the soundtrack—soliciting originals early and pairing promotion with trailers that remixed known hits (Beyoncé). The Weeknd worked through multiple ideas before landing “Earned It”; Sia wrote to a specific pivotal scene. Dana Sano’s supervision kept lyrics and tone on brief, while Elfman composed a restrained, rhythm-forward score. Trusted source: Billboard (music-supervisor interview).

Reception & Quotes

The album drew stronger notices than the film and sold heavily out of the gate.

“Hits hard enough to leave a lasting mark.” Billboard review

“Soundtrack has one thing on its mind.” Los Angeles Times

“Sultry electro-blues pop… older cuts disrupt flow.” ABC News

Trusted source: AllMusic provides detailed credits; several outlets noted that the OST quickly became a top global seller for 2015.

Additional Info

• Editions: Standard and retailer-exclusive (Target deluxe) with bonus tracks.
• Awards highlights: “Earned It” — Oscar nominee; Grammy winner (Best R&B Performance). “Love Me Like You Do” — Golden Globe and Grammy nominations.
• Trailer cues: Beyoncé’s “Crazy in Love” (2014 remake) and “Haunted” (Michael Diamond Remix).
• Score album: 16 cues (~46 min), piano/strings/electronics blend.
• Chart note: U.S. debut = biggest soundtrack opening since 2009.

Technical Info

• Title: Fifty Shades of Grey (Original Motion Picture Soundtrack)
• Year: 2015
• Type: Various-artists soundtrack + separate original score
• Composer (score): Danny Elfman
• Music supervision: Dana Sano
• Label: Republic Records (OST & score)
• Key placements (select): “Love Me Like You Do” (helicopter); “Witchcraft” (apartment dance); “One Last Night” (glider); “Beast of Burden” (kitchen); “Crazy in Love (2014 Remix)” (first playroom); Chopin Prelude in E minor (diegetic).
• Release context: Film opened Feb 2015; OST released Feb 10, 2015.
• Availability: Wide DSPs; multiple regional variants; strong physical sales on release.

Canonical Entities & Relations

Entity	Relation	Object
Sam Taylor-Johnson	directed	Fifty Shades of Grey (film)
Republic Records	released	Fifty Shades of Grey (Original Motion Picture Soundtrack)
Dana Sano	music supervised	Fifty Shades of Grey (film)
Danny Elfman	composed	Fifty Shades of Grey (Original Motion Picture Score)
The Weeknd (Abel Tesfaye)	performed	“Earned It”; “Where You Belong”
Ellie Goulding	performed	“Love Me Like You Do”
Beyoncé	performed	“Crazy in Love (2014 Remix)”; “Haunted (Michael Diamond Remix)”
Annie Lennox	performed	“I Put a Spell on You”
Frank Sinatra	performed	“Witchcraft”
Vaults	performed	“One Last Night”
AWOLNATION	performed	“I’m on Fire” (cover)
The Rolling Stones	performed	“Beast of Burden”

Sources: Wikipedia (soundtrack & score); TIME magazine; Billboard; Los Angeles Times; ABC News; AllMusic; IMDb Soundtracks; Discogs; Apple Music; Spotify; ScreenRant; Vulture.

"Fifty Shades Of Grey" is a story that has captivated the world – finally found a way to the big screen. Not less than the action on the screen, carefully selected music fascinates us as well. 16 songs were included in the volume of the official collection of soundtracks for the most anticipated film of the winter-2015. The total duration of the collection is a little more than fifty-eight minutes. The album includes new items like Crazy In Love and Haunted by Beyonce, Earned It by The Weekend, and timeless classics: Beast of Burden by Rolling Stones and Frank Sinatra's Witchcraft . The most famous hit, created for this novel is Love Me Like You Do recorded by Ellie Goulding, captivates us with its atmosphere from the very first second. The collection includes the unforgettable song of past years named I Put a Spell On You and written especially for the film, two works of the famous "Composer of All Hollywood" Danny Elfman. Elfman called own songs as «Anna And Christian», after names of the main characters, and «Did That Hurt?», where joking tone is clearly heard. The collection includes such artists as Sia, AWOLNATION and Annie Lennox. The music collection for the highly anticipated film is very different, but always exciting – to match the novel and the film.

November, 09th 2025

Fifty Shades Of Grey: IMDb, Wikipedia

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