"Song, The " Soundtrack Lyrics

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“The Song (Original Motion Picture Soundtrack)” – Album Guide to Tracks and Key Scenes

Overview

How do you turn Scripture about desire and wisdom into a country-folk album that still feels like Saturday night? The Song (2014) does it with a two-lane blend: original Americana tunes that could live at a county fair and a lean dramatic score that quotes Ecclesiastes without preaching. Jed King (Alan Powell) marries Rose, writes a hit about her, and then fame tests vows — the soundtrack follows that arc with woozy steel, front-porch strums, and late-night motel reverb.

The mood evolves in phases: arrival with fiddle-and-banjo courtship; adaptation as the band gets tighter and the rooms get bigger; rebellion when Shelby Bale’s road songs thrum like highway lines; collapse via minor-key laments and spare score; and a hard-won reset that sounds smaller, wiser. The commercial companion album stitches the film’s diegetic performances with studio-polished versions, while the separate score album underlines the Solomon thread.

How It Was Made

Writer-director Richard Ramsey built the story as a modern riff on Song of Songs/Solomon; Vince Emmett crafted the score language and steered the film’s music team. On camera, Powell (a real-life singer) tracks live-ish vocals when possible; off camera, the album gathers originals written for the characters (with contributions from Jill Paquette and others) alongside rooted traditional cues. The soundtrack exists in two lanes: a songs album (Various Artists, with Powell up front) and a score album under Emmett’s credit — a nice map of how the movie splits heart and head.

Tracks & Scenes

(Scene descriptions are anchored to the theatrical cut; several are diegetic performances. Trailer/non-album notes at the end.)

“The Song (Awaken Love)” — Alan Powell
Where it plays: Jed debuts the love song he wrote for Rose after their whirlwind courtship; a fairground-turned-wedding circuit vibe, crowd at the rail, ring still shiny (diegetic stage performance; later reprises as his breakout single).
Why it matters: Title tune = thesis. It’s equal parts vow and invitation — and the career door-opener.

“Son of a King” — Alan Powell
Where it plays: Early set in a small room as Jed steps out from his father David’s shadow; lyric nods to legacy are not subtle — by design (diegetic).
Why it matters: A Solomon wink in country clothes; identity declared before it’s tested.

“Split the Baby” — Alan Powell & Caitlin Nicol-Thomas
Where it plays: Tour montage with Shelby’s band crashing into Jed’s show — push-pull chemistry onstage; lights hotter, tempos faster (diegetic duet).
Why it matters: The title telegraphs the source: a sharp, cynical flip of the wisdom story that reveals where Jed’s judgment frays.

“Can’t Hold On” — Alan Powell
Where it plays: After a fight, Jed stares down an empty motel room; the song arrives as a half-sung, half-muttered demo before blooming in concert (starts diegetic as writing; returns non-diegetic over travel shots).
Why it matters: The sound of drift — chords searching for home.

“You Made Me Love You” — Taylor Walling
Where it plays: Vineyard porch scene with Rose’s family, daylight soft as dust; a tune that feels borrowed from a hymn sing (source-like performance).
Why it matters: Roots, literally — the grounding that makes the fall hurt.

“All I Wanna Be” — Caitlin Nicol-Thomas
Where it plays: Club sequence where Shelby’s set blurs into Jed’s encore; neon gloss, crowd close enough to touch (diegetic).
Why it matters: Temptation in a hook — the film’s slickest pop turn.

“Awaken Love” (Score cue) — Vince Emmett
Where it plays: Under the proposal and early-married montage; strings and gentle acoustic guitar hold on suspended chords (non-diegetic).
Why it matters: A hymnal cousin to the title song — the Solomon motif, wordless.

“Marry Me” (Score) — Vince Emmett
Where it plays: Quiet interlude bridging vows to first tour dates; we hear hands, rings, and breath over a small ensemble (non-diegetic).
Why it matters: Keeps the covenant thread audible when the needle-drops get louder.

“Rose Sleeps, Shelby Enters” (Score) — Vince Emmett
Where it plays: The exact hinge: a late-night bus stop, a door opens, the harmony darkens (non-diegetic turning point cue).
Why it matters: Titles don’t lie — innocence out, appetite in.

Trailer cues: The official trailers lean on performance snatches of “The Song (Awaken Love),” rock-leaning tour clips, and score swells at the temptation turn.

Notes & Trivia

• Alan Powell (Jed) tracked multiple vocals himself; the film leans on real instruments and venue acoustics.
• Vince Emmett’s score album carries Ecclesiastes-titled cues (“Under the Sun,” “Great Projects,” “Their Work Is Grief and Pain”).
• Several song titles nod straight at Solomon lore (“Son of a King,” “Split the Baby”).
• The film shot performance scenes with a “small club first” approach — crowd mics up, polish down.
• Separate songs and score releases exist; track counts vary slightly by edition.

Music–Story Links

When Jed sings “The Song (Awaken Love)”, he publicizes a private vow — the mix is warm, the tempo unhurried. After success arrives, “Split the Baby” reframes wisdom as spectacle; the crowd roars, the lyric cuts, and we feel the compromise. “Can’t Hold On” starts as a motel demo because the marriage is living in fragments; the full-band later feels like a lie he’s telling himself. Emmett’s “Rose Sleeps, Shelby Enters” and “The Shadow of Death” turn Scripture chapter titles into musical weather: clouds moving in, then out.

Reception & Quotes

The film’s faith-inflected melodrama split critics, but the music drew steady praise for credibility and cohesion — “a music-driven love story” where the songs carry real narrative weight. Fans of Americana and faith-market releases adopted the album as a front-to-back listen.

“A contemporary reimagining of Solomon with tunes that actually belong on a stage.” faith-film roundups

“Country-folk textures feel lived-in; the vocals are as important to the plot as the dialogue.” review highlights

Availability: The songs album (Various Artists) and Emmett’s score release stream widely; physical editions surfaced around the film’s September 2014 run.

Interesting Facts

• Solomon in plain sight: Song and Ecclesiastes headings sneak into cue titles and lyrics.
• Real singer, real mic: Powell fronted pop-vocal group Anthem Lights; the film uses that muscle without over-sweetening.
• Two-album map: A “songs” compilation for the needle-drops and a “score” record for the dramatic spine.
• Vineyard romance, tour fallout: The sound shifts from porch to arena on purpose — story first.
• Wiser coda: Final cues step away from radio gloss back to wood-and-wire intimacy.

Technical Info

• Title: The Song (Original Motion Picture Soundtrack)
• Year: 2014 (film); 2014–2015 (albums)
• Type: Film soundtrack (diegetic songs + original score)
• Composer (score): Vince Emmett
• Primary performers (songs): Alan Powell; Caitlin Nicol-Thomas; Taylor Walling; Jill Paquette and others
• Label / Releases: Various/indie partners for the songs album; separate score album under Emmett; streaming editions available
• Selected placements: “The Song (Awaken Love)” (wedding/first-tour breakout); “Son of a King” (early set, legacy declared); “Split the Baby” (on-the-road duet); “Can’t Hold On” (motel demo → tour montage); score cues “Marry Me,” “Rose Sleeps, Shelby Enters,” “Awaken Love” (key turning points)

Questions & Answers

Is the title track performed by the lead actor?

Yes. Alan Powell sings “The Song (Awaken Love)” in character as Jed King.

Are there two different soundtrack albums?

Effectively, yes — a songs compilation (various artists, fronted by Powell) and a separate Vince Emmett score release.

Do the song titles really reference Solomon?

Many do — from “Son of a King” to “Split the Baby,” plus Ecclesiastes phrases in the score cues.

How “live” are the performances?

They’re staged as in-world shows; mixes preserve room noise and band feel to keep scenes credible.

When did the film open?

Late September 2014 in the U.S., with the soundtrack arriving in the same window.

Canonical Entities & Relations

Subject	Verb	Object
Richard Ramsey	wrote & directed	The Song (2014)
Vince Emmett	composed	original score for The Song
Alan Powell	performed	lead vocals on multiple soundtrack tracks
Caitlin Nicol-Thomas	performed	featured songs as Shelby Bale
City on a Hill	produced	The Song (studio)
Samuel Goldwyn Films	distributed	The Song (U.S.)

Sources: Wikipedia film entry; Spotify album page; Discogs release notes; MovieMusic (score track list); IMDb credits; Plugged In & LA Times reviews.

The romantic story about a musician from a provincial town suddenly wakes up the next morning being a big star. Not to say that he did not went the whole way to do so. Instead, he invested all of him, and even a little more in order to achieve success and recognition. But when it happened, he became a complete stranger for his charming beautiful wife. And even worse – he was cheating on her with some girl who plays on stage with him. Forgetting that in his home, a few hundred miles away, there are wife and child who need him, not his money, fame and the fans who went to his head. Will our hero overcome the attack of the star disease and will he return to what was and is truly worthy? Can he transcend his dream, abandon it, to be with his family? Or will he drop the "anchor" for the benefit of the good life, concerts and countless fans that make up the whole meaning of life of musicians performing on stage? After all, this addiction as an infinite adoring attention is not giving up so simple – it is more addictive than the real psychotropic substances that people take to feel the euphoria. To find answers to these questions, you have to look at this romantic and entertaining film in which a lot of empathy for the two main characters. The musical accompaniment is done mainly by two people – the main hero of the screen, Alan Powell (he owns most of the songs in a collection) and his musical companion in the film, Caitlin Nicol-Thomas, his stage partner. Most of the music is performed – no surprise – in the same genre, in which the singers do, country + pop. The most illustrative examples are the following compositions: The Song (Awaken Love), You Made Me Love You or Confetti. This collection gives a very good mood, do not miss it.

November, 27th 2025

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