Running Up Those Charts (A deal with ‘80s musicians)

When the first season of Netflix’s Stranger Things appeared on the streaming platform in July of 2016, it was difficult to predict the show’s future success. Families bonded over watching the thrill, horror, passion, mystery and excitement that the show offered. Mothers watched a heartbroken Joyce (Winona Ryder) search for her missing son, fathers watched a stoic Jim Hopper (David Harbour) unravel government secrets, and children watched the main characters look for their friend, accompanied by telekinetic Eleven (Milly Bobby Brown). As one season turned into two, and two into three, families grew up with this beloved cast of characters.

After a long-awaited release, the fourth season of Stranger Things was released on Netflix in two parts, with the first seven episodes released on May 27th, 2022, and the last two released on July 1st, 2022.

The show does not shy away from music. In fact, music has been an essential part of the show since the first season. “Should I Stay or Should I Go” by The Clash is used in the first season to connect Jonathan Byers (Charlie Heaton) to his brother Will (Noah Schnapp). “Ghostbusters” by Ray Parker Jr. shows off the gang of middle schoolers in their Ghostbusters costumes in the second season.

As the show gained more popularity, the budget grew as well. The reported budget for season three was $10 million per episode, and the budget for season four was reported as being $30 million per episode. This allowed the show to include a more elaborate soundtrack. Season three included ‘80s artists like Madonna, Wham!, REO Speedwagon and Foreigner, and ended with the memorable cover of “Never Ending Story” from characters Dustin (Gaten Matarazzo) and Suzie (Gabriella Pizzolo). Season four featured some of the greatest names in music history: The Beach Boys, James Taylor, Metallica and Kate Bush.

The star-studded soundtrack starts and ends with two remixes of “Separate Ways (Worlds Apart)” by Journey. Both remixes were used in promotional trailers for the season, and rightfully so, since they are very dramatic renditions of Journey’s version that embody the high stakes of the season.

The Beach Boys’ cover of “California Dreamin’” is the perfect intro to the Byers Family’s newfound life in Lenora Hills, California. Songs like “Pass the Dutchie” by Musical Youth, and “Wipeout” by The Surfaris are two more tracks that are associated with the California storyline in the season.

Although the show has included a few ‘80s metal songs in the past, this season may have included a bit more than usual. This is because the new character Eddie Munson (Joseph Quinn) is a stereotypical metalhead. The inclusion of “Play With Me” by Extreme and “Master of Puppets” by Metallica can be attributed to Eddie Munson.

Without a doubt, the crown jewel of the soundtrack is Kate Bush’s “Running Up That Hill (A Deal With God).” The song’s anthemic-like use throughout the season is associated with the character Max Mayfield (Sadie Sink) who plays a crucial role in the main storyline. Not only is the song diegetic, but it is used in one of the most dramatic and unforgettable moments of the show. Bush’s music is rarely used in media, but its usage in Stranger Things has sent her song flying up the charts. After the first volume of season four was released, Bush saw her single hit #4 on the US Billboard Hot 100.

Although Bush’s track was the most popular and relevant song for this season, there are plenty of gems in the soundtrack that added something spectacular to the show. “You Spin Me Round (Like a Record)” by Dead or Alive and “Rock Me Amadeus (The Gold Mix)” by Falco are two excellent songs for the show’s soundtrack. “I Was A Teenage Werewolf” by The Cramps and “Spellbound” by Siouxsie & The Banshees are two tracks that highlight the darker atmosphere of this season. Ella Fitzgerald & Louis Armstrong’s cover of “Dream a Little Dream of Me” even makes an important appearance in the show.

Equally important, yet often overlooked is the show’s score. Back for a fourth season, Kyle Dixon and Michael Stein composed the three-hour score. Of course, a large part of the score is derived from 1980s instrumentals. The theme track of the season “What’s the Internet” is composed almost completely of synths.

Since the score is usually intended to be a subconscious experience, viewers sometimes do not realize how important it can be in creating emotionally impactful moments. Tracks like “Nine Feet Tall,” “It’s just a clock, right?” and “Hail Lord Vecna” fill the scene with pure tension and make the character’s misfortunes that much more dreadful.

Clocks are a vital theme in the season. Dixon and Stein used this to their advantage by creatively including clock-like instrumentals in some of the tracks on the score. One of which being “It’s Time Max,” which is as terrifying as it is gut-wrenching to listen to.

Creating a score for a tv show is difficult enough, and especially one with a total runtime of thirteen hours just for the fourth season. Composing one that is unique and non-repetitive would be equally challenging. However, Dixon and Stein do a great job of making something new while still encapsulating the drama and terror that is felt while watching season four.

The soundtrack and score of Stranger Things are part of what makes the show so memorable. We have seen the clear impact that the show has on music and vice versa. Although Kate Bush was by no means an “underground” artist, her music is being heard by more people in 2022 than anyone could have previously imagined. Because of the show, more and more artists from the ’80s are being catapulted to the forefront of popular culture. Likewise, giving them a legacy that will be tied to the show forever.