Austin Rollover Club - SYNC MUSIC
The musical world of Austin Rollover Club breaks down into two subcategories - original compositions, and sync. This page contains all the songs referenced as sync material in the scripts. The period-specific music we've chosen is crucial in establishing the tone of the show, and has been very deliberately paired with many of its most coveted moments.
This quick sample demonstrates how we can subtly modify sync material to shape the tone of the show.
EPISODE 1
Three of these songs are heard by characters on their radios (Ye Hypocrite, Ye Beelzebub; Easy Listening Blues; Straighten Up and Fly Right), and two are heard on turntables (Moonglow; All For You). The piece by Grieg is part of a collection of folk melodies (his famous Lyric Pieces) which has been very influential on the tone of the show.
EPISODE 2
Songs by the impeccable Sam Cooke are used in scenes with the character Georgia, who learns of the death of her father in this episode. The sublime grace of his voice lends something magical to these scenes. The Buddy Holly song is heard shortly before Donny gets in a car accident. While working with some of these songs, we've had reason to believe that there's a latent audience of modern young people (i.e., Gen Z) who, aided by the context of the show, may come to discover themselves as new fans of this old music. It's timeless stuff, after all, and proper context can prove it.
EPISODE 3
This episode is a stylistic outlier, including the music. "Fanitullen" is a Scandinavian folk song about the devil, which is both upbeat and strangely haunting. As we delve into Theo's tragic backstory, a spectre of death follows like a shadow.
EPISODE 4
A bacchanalian rollick, episode 4 contains some huge sync moments. "Mack the Knife" is played nearly in its entirety during an alarming sequence that ends with Donny accidentally driving into a very deep lake.
EPISODE 5
"Georgia On My Mind" is used to great effect during a date scene between Donny and Georgia. The episode ends with "All My Trials", which marks a change in tone as Donny drives towards an unknown future in San Francisco.