"Glory Road" Soundtrack Lyrics

"Glory Road (Original Soundtrack)" Soundtrack Description

Overview

How do you score an underdog story set in 1966 and still feel like a big-venue Disney sports movie? This soundtrack splits the difference: period R&B, soul, and gospel needle-drops for texture; a contemporary, motivational score to push momentum. The album (Hollywood Records) compiles 1960s classics—Stevie Wonder, Martha & The Vandellas, Marvin Gaye—alongside new contributions and cues anchored by composer Trevor Rabin.

In the film, Motown floor-fillers fuel bus rides, cafeterias, and warm-ups; gospel frames belief; and Rabin’s orchestral-rock language carries training montages and the championship run. Release metadata confirms a 2006 street date under Disney/Hollywood Records; production credits list Trevor Rabin (music), with music supervision by Bob Badami on the film side. The result feels deliberate: source music establishes era and place; score handles grit and finish-line lift.

Questions & Answers

Who composed the score?

Trevor Rabin composed and orchestrated the score.

Which label released the album and when?

Hollywood Records (a Disney label) released the soundtrack in 2006 (U.S. retail listings show early January).

What style of songs are on the album?

Mid-’60s R&B/soul and gospel staples (e.g., Stevie Wonder, Martha & The Vandellas, Marvin Gaye; Mahalia Jackson), plus new contributions tied to the film.

Is there new music connected to the film’s themes?

Yes — a contemporary R&B/soul cut built on “People Get Ready” performed by Lyfe Jennings & Alicia Keys, and Rabin’s score cues.

Who handled music supervision?

Bob Badami is credited as music supervisor on the film.

Where can I verify album basics?

Apple Music (label/date/runtime), Discogs (CD issue and catalog number), and the film’s credits pages.

Notes & Trivia

• Album credit line: ©/℗ 2006 Disney Enterprises, Inc.; label: Hollywood Records.
• Music supervisor on the film: Bob Badami; additional music personnel include orchestrators and a supervising music editor credited on production databases.
• Press at the time called out the mix of “’60s R&B (effective)” and a modern inspirational score.
• The song list used in the movie is larger than the retail album; a number of period hits appear as on-screen source but not on the CD.

Genres & Themes

Motown & Stax grit → swagger and togetherness: “Uptight (Everything’s Alright)” and “Ain’t That Peculiar” sound like bus-ride bravado and locker-room bounce.

Girl-group & brass-led R&B → public joy: “Dancing in the Street” cues communal scenes and resets mood after conflict.

Gospel standard → conviction: Mahalia Jackson’s performance grounds the team’s belief in something larger than the scoreboard.

Orchestral-rock score → resolve: Rabin’s harmonic builds and snare-drum motors carry training beats, road games, and the title-game march.

Tracks & Scenes

(Placements cross-checked against soundtrack/credit listings and reputable databases; timecodes vary by platform.)

“People Get Ready” — Lyfe Jennings & Alicia Keys
Where it plays: End-credits and post-victory framing; diegetic feel yields to full studio single.
Why it matters: A modern R&B reading of a civil-rights hymn that aligns the film’s legacy with the team’s moment.

“Ain’t That Peculiar” — Marvin Gaye
Where it plays: Locker-room/background source during early-season bonding; non-diegetic lift into montage.
Why it matters: Pure Motown propulsion to humanize the roster before the schedule turns hostile.

“Uptight (Everything’s Alright)” — Stevie Wonder
Where it plays: Practice/bus-ride source; needle-drop into warm-up montage.
Why it matters: Optimism in a bottle; the groove sells the team’s rising confidence.

“Dancing in the Street” — Martha Reeves & The Vandellas
Where it plays: Campus/community scenes; source music under crowd energy.
Why it matters: ‘Joy in public’—a counterweight to road-game hostility.

“I’m On My Way to Canaan” — Mahalia Jackson
Where it plays: Chapel/moment-of-quiet context; non-diegetic spiritual frame.
Why it matters: Places the story in a moral register beyond wins and losses.

“Get Ready” — The Temptations
Where it plays: Not on the retail album but used in-film as source; cafeteria/locker-room vibe.
Why it matters: Title says it—prepares the room for the next test.

“Going to a Go-Go” — Smokey Robinson & The Miracles
Where it plays: In-film source cue (not on album); lightens travel and downtime beats.
Why it matters: Keeps the palette era-true without slowing the plot.

Score cues — Trevor Rabin (selection)
Where they play: Training sequences, road-game tension, title-game build (“Haskins & Mary / Empty Gym” and related motifs).
Why it matters: Converts a historical retelling into a sports movie with pulse; the cymbal/snare language pushes pace.

Music–Story Links

Source songs do the world-building: cafeteria trash-can hoops feel authentic because Motown’s on the speakers. Gospel steadies the frame before the road gets rough. When the story needs propulsion—cutting from drills to away-game tip-offs—Rabin’s cues take over. And the closer returns to a civil-rights standard re-voiced for the 2000s, tying a single game to a larger cultural shift.

How It Was Made

Score by Trevor Rabin; film music supervision by Bob Badami. Hollywood Records issued the official soundtrack CD; distribution credits trace back to Disney. Contemporary listings show the album’s catalog details; industry databases note additional music staff (orchestrators, programmers, supervising music editor) across the production.

Reception & Quotes

Reviews frequently praised the period needle-drops and were mixed on the modern score blend; several critics explicitly noted that the Motown choices “work” even when formula creeps in.

“There’s gospel moaning in the musical score and Motown on the soundtrack!” Boston Globe (review excerpt)

“A curious mix of ’60s R&B (effective) and… inspirational noodlings.” Salon (review excerpt)

Additional Info

• Album rights line: Hollywood Records; ©/℗ 2006 Disney Enterprises, Inc.
• Not all songs heard in the film appear on the retail album (e.g., “Get Ready,” “Going to a Go-Go,” “Shotgun”).
• Score-only tracks circulated unofficially among fans; the retail album emphasizes source songs plus select new cuts.
• Alicia Keys appears vocally on the “People Get Ready” single; production involvement is noted in soundtrack credits.
• The film’s composer credit is Trevor Rabin; the movie’s music department also lists orchestra contracting and music editing staff typical of Disney sports dramas.

Technical Info

• Title: Glory Road (Original Soundtrack)
• Year/Type: 2006, film soundtrack (source songs + score highlights)
• Label: Hollywood Records (Disney)
• Composer (score): Trevor Rabin
• Music Supervision (film): Bob Badami
• Notable placements (selected): “People Get Ready” (end-credits); “Uptight,” “Ain’t That Peculiar,” “Dancing in the Street” (practice/bus/campus source); Mahalia Jackson cut (reflective interlude); Rabin cues (training and game arcs).
• Edition/Note: Retail album omits several in-film songs; runtime varies by digital region (~34 min on common listings).

Canonical Entities & Relations

Sources: Apple Music; Discogs; IMDb (soundtracks & full credits); Variety; The Numbers; SoundtrackINFO (album + in-film songs list).

November, 09th 2025