"High Note" Soundtrack Lyrics

"The High Note (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

Can a music-industry dramedy feel like a label sampler and a character study at once? The High Note (2020) answers with a dual engine: newly recorded songs led by Tracee Ellis Ross and Kelvin Harrison Jr., and an original score by Amie Doherty. The album leans into classic soul and contemporary R&B while the score threads intimacy—keys, small ensembles, voice—to track ambition and mentorship in Los Angeles.

The commercial soundtrack was released the same day the film hit PVOD (May 29, 2020). Republic Records issued a 15-track set built around in-story performances and era-grounding catalog cuts (Aretha Franklin, Donny Hathaway, Maxine Brown), alongside new cues from the film’s leads. The film credits list Linda Cohen as music supervisor and name Amie Doherty as composer; Rodney “Darkchild” Jerkins produced the soundtrack release. These points are corroborated by Apple Music’s album page, IMDb’s credits/soundtrack listings, and Focus Features’ composer Q&A.

Questions & Answers

Who composed the original score?

Amie Doherty. Her cues favor piano, strings, and light electronics to sit inside dialogue and editorial rhythm rather than overwhelm it.

Who supervised the songs and clearances?

Linda Cohen. She also helped recruit songwriters and artists for new material recorded for the film.

Who produced the soundtrack album?

Rodney “Darkchild” Jerkins served as the soundtrack’s producer/executive music producer.

When was the album released?

May 29, 2020, day-and-date with the film’s PVOD rollout.

Are the leads really singing?

Yes. Tracee Ellis Ross performs several originals as Grace Davis; Kelvin Harrison Jr. performs new songs and classic covers as David Cliff.

What label issued the album?

Republic Records (UMG).

Is it mostly originals or catalog?

A hybrid: new songs by the leads plus vintage R&B staples that ground the world (Aretha, Donny Hathaway, Maxine Brown).

Notes & Trivia

• The film’s working title was Covers; it was retitled before release.
• Focus Features highlights that the score and soundtrack teams were led by women—composer Amie Doherty and music supervisor Linda Cohen.
• Rodney “Darkchild” Jerkins produced the album and cut alternate mixes (e.g., a “Darkchild Mix” of “You Send Me”).
• PVOD release landed May 29, 2020; the album dropped the same day.
• “Love Myself” marked Tracee Ellis Ross’s first official single release.

Genres & Themes

Classic soul standards → credibility & continuity. Covers like “Let’s Stay Together” and “You Send Me” prove David’s chops and place the story in a lineage of Black popular music.

Contemporary R&B pop → reinvention. Grace’s new songs (“Love Myself,” “Stop for a Minute,” “Bad Girl”) frame the risk of releasing fresh material instead of coasting on residencies.

Score minimalism → mentorship and craft. Doherty’s understated cues keep scenes breathable—producer’s rooms, late-night edits, and career fork-in-the-road conversations.

Tracks & Scenes

Scene placements below are drawn from the film and published soundtrack/credit records. Timecodes vary by cut; diegetic status is noted when clear.

“Love Myself (The High Note)” — Tracee Ellis Ross
Where it plays: Grace’s comeback single and over end-section/credits cues; non-diegetic as capstone.
Why it matters: thematically nails the film’s thesis—ownership of voice and career.

“Stop for a Minute” — Tracee Ellis Ross
Where it plays: studio/rehearsal montage as Grace weighs new material; mostly non-diegetic over process beats.
Why it matters: shows the tug between legacy and risk without cutting to a full concert set-piece.

“Bad Girl” — Tracee Ellis Ross
Where it plays: label/strategy discussions and image-craft sequences; non-diegetic editorial use.
Why it matters: frames industry optics vs. artistry—who’s steering the sound.

“Let’s Stay Together” — Kelvin Harrison Jr.
Where it plays: David’s house-party performance; diegetic live vocal/guitar reveals his range to Maggie and the room.
Why it matters: a standard as audition—Maggie hears a producer’s canvas.

“You Send Me” — Kelvin Harrison Jr.
Where it plays: session and small-venue moments as Maggie shapes David’s tone; diegetic in-story performance with a later radio-ready mix.
Why it matters: balances innocence and polish; the Darkchild mix underlines the film’s pop-industry frame.

“Track 8” — Kelvin Harrison Jr.
Where it plays: pivotal studio scene where Maggie earns her producer stripes; diegetic arrangement build on the fly.
Why it matters: turns character growth into a production lesson—arrangement choices become plot.

“Chemistry” — Kelvin Harrison Jr.
Where it plays: late-film showcase pushing David beyond standards; diegetic performance.
Why it matters: proof of concept—Maggie’s A&R instincts pay off.

“Jealous Guy (Live at The Bitter End, 1971)” — Donny Hathaway
Where it plays: reflective transitional scene; non-diegetic needle-drop.
Why it matters: a tasteful, crate-dug cut placing Grace’s world in the pantheon.

“Share Your Love with Me” — Aretha Franklin
Where it plays: mood-setting in Grace’s orbit; non-diegetic.
Why it matters: royalty check on the wall—every modern vocal decision bends to this lineage.

“Oh No Not My Baby” — Maxine Brown
Where it plays: party/LA-drive interstitial; non-diegetic.
Why it matters: vintage sparkle to balance the pristine new productions.

“Mind Over Matter” — Anthony Ramos
Where it plays: diegetic/club-world texture in David’s scene set; or non-diegetic transition, depending on cut.
Why it matters: a modern counterpoint—new-school R&B that still converses with classics.

Music–Story Links

• Standards as test pieces: when David nails “Let’s Stay Together” and “You Send Me,” Maggie gains evidence—he can sell history and handle a modern mix.
• Producer POV: “Track 8” turns arranging, mic choice, and dynamics into drama; we watch Maggie’s taste become authorship.
• Legacy vs. now: Grace’s new singles are narrative arguments against the safe Vegas-residency path her team pushes.
• Score as glue: Doherty’s cues smooth jumps between rehearsal space, label offices, and LA night—keeping character beats legible.

How It Was Made

Composer Amie Doherty was hired early to shadow editorial and design a subtle, singer-forward score. Music supervisor Linda Cohen curated and cleared the crate of classics, commissioned originals, and helped line up the right vocal coaches and session players. Rodney “Darkchild” Jerkins produced the album, shaping the singles and alt mixes to sit alongside the catalog tracks without jarring the film’s period sensibility.

Reception & Quotes

Coverage framed the film as comfort-watch music cinema with unusually tasteful curation. Reviews singled out Ross’s vocal debut and the believable studio scenes.

“A charming musical dramedy… watching good actors play nice people.” Forbes

“The music in this movie is fantastic!” Focus Features (director interview)

“Soundtrack produced by Rodney ‘Darkchild’ Jerkins.” Entertainment press summaries

Additional Info

• Album: 15 tracks, digital release; Republic Records.
• Lead single “Love Myself” arrived two weeks before the film.
• Official track list includes “Track 8” and “Chemistry,” written to serve David’s arc.
• Score credit on the film is Amie Doherty; album focuses on songs.
• Vocal and piano coaches are credited in the film—evidence the team chased studio authenticity.

Technical Info

• Title: The High Note (Original Motion Picture Soundtrack)
• Year: 2020
• Type: Songs compilation (originals + catalog) with separate original score in film
• Composer (film score): Amie Doherty
• Music Supervisor: Linda Cohen
• Soundtrack Producer / Executive Music Producer: Rodney “Darkchild” Jerkins
• Label: Republic Records (UMG)
• Selected placements: “Let’s Stay Together” (house-party performance), “You Send Me” (session/performance), “Love Myself” (finale/credits), “Jealous Guy (Live)” (reflective transitional), “Share Your Love with Me” (world-building needle-drop)

Canonical Entities & Relations

Sources: Apple Music (album page); Focus Features interview with Amie Doherty; IMDb (full credits & soundtrack); Wikipedia (film overview & soundtrack section).

November, 10th 2025